UNIVERSITATEA DIN CRAIOVA FACULTATEA DE LITERE MASTER: STUDII ANGLO-AMERICANE

LUCRARE DE DISERTAIE

ANTHROPOMORPHISM IN ENGLISH BOOKS FOR CHILDREN

Coordonator tiinific, Lector univ. dr. Aloisia orop

Masterand, Gorun Elena-Loredana

CRAIOVA 2013

ABSTRACT
Some must wonder why Ive chosen Anthropomorphism in English Books for Children, as the theme for my work!? Well, youll see that its a very simple explanation and also a very reasonable one. Ive chosen this theme not for its complex name but for the fact that, as we well know, our self development starts from early childhood, so, I think that it represents the most important part of our education. In order to understand better literature and to develop a very good opinion about time, space, and things around us, we have to read and this must be a very important part for us even from early childhood, thats why this kind of literature, childrens literature is for me very attractive and important. Childrens literature represents a phase that cant be replaced by anything, is something primordial and the fact that it has the freedom to express in so many ways makes it more useful for the educational process. Only in this kind of literature we can speak about anthropomorphic characters which offer the opportunity to discover a whole new world through fiction and comic lines and this advantage is very useful in childrens education because in this way we can seize their attention and their interest. Anthropomorphism in all children books, not only in English books, is a very useful feature, is like a straight connection between the real world and the fantastic one. Using characters like a tiny plush bear, or a sweet little bunny, or even like a peevish mole and a water rat, makes the reading process easier and children are immediately attracted by the story without much effort. From a rational and logical point of view, anthropomorphism is a form of personification that gives human characteristics to non-humans, like animals in our case. In another way of expressing, anthropomorphism may be seen as a way to make things that are unfamiliar seem more familiar. These are some characteristics for which I decided that I must consider thoroughly this theme and Ill have many others to discuss below.

CONTENTS
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INTRODUCTION

CHAPTER I:
CHILDRENS LITERATURE 1.1. The Importance of Literature for Children 1.2. Major Themes Used in Childrens Literature 1.3. Main English Books for Children
7 10 ...12

CHAPTER II:
ANIMALS IN ENGLISH BOOKS FOR CHILDREN 2.1. The Role of the Animals in Childrens Literature 2.2. The Connection Between Human and Non-Human Characters 2.3. Types of Non-Human Characters in English Books for Children
14 17 20

CHAPTER III:
ANTHROPOMORPHIC FEATURES IN TWO MAIN WORKS 3.1. A. A. Milne: Winnie the Pooh 3.2. Kenneth Grahame: The Wind in the Willows
...23 27

CONCLUSIONS

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BIBLIOGRAPHY

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SUMMARY

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INTRODUCTION
Talking about childrens literature is both pleasant and complex. Why complex? Well, it is complex indeed even if we discuss only a kind of literature, it has so many aspects which are worth to be emphasized and so many genres which can develop our imagination and last but not least, that of our children/pupils. It is also called Juvenile Literature, and involves books, stories and poems which are enjoyed by children. Childrens literature has its roots in the stories and songs which were told through oral communication before publishing existed, so, from this point of view, it can be hard to discover the development of early stories. There are some proves that originally, childrens literature was often a re-writing of other forms; many classic tales were, in the beginning, created for adults and have been adapted for a younger audience. Juvenile literature can be described in many ways, it can be broadly defined as anything that children read; some would say that it is fiction, poetry, and drama intended for and used by children and young people. Well, if we think better, thats not an awkward situation because everyone of us has a different way of seeing things but, after all, literature remains literature no matter how we define it, with its genres, teachings and characters. What is different but very interesting in this kind of literature is the fact that the characters are replaced with tiny, sweet animals, in other words, it has anthropomorphic features. But what does it means anthropomorphism? Well, anthropomorphism is any attribution of human characteristics to non-living things, material objects or abstract concepts. Only in this kind of literature we can speak about anthropomorphic characters viewed from a positive point of view, which offer the opportunity to discover a whole new world through fiction and comic lines and this advantage is very useful in childrens education because in this way we can seize their attention and their interest. The idea of using animals as characters brought something different and also something very useful for the development of childrens literature. We all know that small, sweet animals are very attractive for children and also help them to understand the real meaning of the story without further explanation. Anthropomorphic characters were created for amusement and in order to make it easier for children to approach literature, to develop from early childhood a fine taste for reading, for knowledge.
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Anthropomorphism is present in many English books and not only, we find it in the universal literature, in every forms and with all kinds of subjects, trying to expose the real life which is hidden behind those tiny, comic acts which characters are interpreting. As an example to sustain and to emphasize this feature, Ive chosen two books, two stories for children, which in my opinion are the best example from the English books with anthropomorphic characters category: Winnie the Pooh and The Wind in the Willows, which I am going to discuss later in this work. Of course, there are many other good examples but I have a vague opinion that these two works represent anthropomorphism in all its shapes. I have chosen to discuss first about generalities concerning the domain of literature for children like: The Importance of Literature for Children, Major Themes Used in Childrens Literature and Main English Books for Children, because I thought that is necessary a complex view upon childrens literature before we try to understand particular features of it. After the first chapter I tried to present in a very explicit manner the main theme of my work, and that would be The Anthropomorphism, which is related in chapter two. And then, in chapter three, I brought into discussion two of the most beautiful stories for children: Winnie the Pooh and The Wind in the Willows. With no doubt, anthropomorphism in English books for children is a very complex subject to discuss because it implies many domains to cover, many learning to teach; in some words, this kind of books have, above all, educational role which implies many responsibilities, especially when we are talking about children and above all, their development as growing ups. Further, we are going to discover more profound roots of this kind of literature in general; also we will try to underline its importance for childrens education; and to find out the real connection between human and non-human characters which, of course, represents the main idea of this work.

CHAPTER I:

CHILDRENS LITERATURE 1.1. The Importance of Literature for Children

When we are talking about the study of English literature we have to be aware about the fact that it is host to an exhilarating range of critical approaches, theories, and historical perspectives. It has its roots in the traditional modes and it is varied enough to bring enrichment and enjoyment for all kind of readers and to challenge preconceptions about what the study of literature involves, especially if it is about childrens literature. Nowadays childrens literature has reached a very high level. More and more parents and, of course teachers, admit and recognize the importance of childrens reading. While the abundance of books and the growing interest in literature are welcome, they create an even greater need to educate parents, teachers, and librarians to plan literary experience and to select greater books. Because sometimes, or almost always childrens pleasure in literature can be foiled by the boring, the difficult, and the obscure, it is very hard for adults to optimize childrens interactions with literature; and moreover, the curriculum and the textbooks used in elementary classrooms cry out for the richness of literature1. As we all know, this kind of literature consists of the books, stories, and poems which are enjoyed by or targeted primarily at children. Modern literature is classified in different ways, including by genre or the intended age of the reader which, of course, raises the standards and the importance of literature for children. Usually, childrens stories have always been accompanied by pictures, books for younger children tend to be written in very simple language, use large print, and contain many illustrations, while the books for older children use increasingly complex language, normal print, and fewer illustrations. Today childrens books are illustrated in a way that rarely occurs in adult literature in the 20th or 21st century. Generally, picture books can be an accessible source of high quality art for young children. What is a little bit un-comprehensible is the fact that even after children learn to read well enough to enjoy a story without illustrations they continue to appreciate the drawings found in chapter books and I have tried to find an explanation for this thing so, I believe that even the adults are attracted by
1

Barbara Stood: Childrens Literature: Discovery for a Lifetime, Ed. Macmillan Education, Australia, 1996, p. xvii.

illustrations when they are reading a book for the simple fact that it is interesting and takes the imagination far beyond the story from that book. It is easier to understand better a novel if we see also some pictures which describe somehow the scenes from that action. Just as Joyce Whaley said: An illustrated book differs from a book with illustrations in that a good illustrated book is one where the pictures enhance or add depth to the text2. This statement contains a lot of truth and a lot of hidden thoughts in order to underline the fact that the real beauty and the real help of books for children are given by suggestive pictures through which the young readers can understand better the stories related in it. The development of literature for children follows the same basic path anywhere in the world and, of course, has the same importance. All childrens literature begins with spoken stories, songs, and poems; in the first phase, the same tales that adults tell and enjoy are adapted for children and, after that, the stories are created especially for children in order to educate, instruct, and entertain them. Finally, literature for children is established as being distinct from that of adults, having its own genres, divisions, expectations, and canon. Normally, the development of this kind of literature, as all the other ones, is influenced by the social, educational, political, and economic resources of the country or ethnic groups. So, according to this pattern, we may assume that the importance of childrens literature has many different levels and stages to follow. In order to be more specific, I would like to mention here Peter Hunts statement: Childrens literature, as a body of oral and written texts to be described, and as a subject of study to be investigated, is the confluence of many cultures and of many disciplines3. In fact, childrens literature is a part of the mainstream of all literature fields, it orders, evaluates, explores, and illuminates the human experience through imagination. What is really important is the fact that children, like adults also do, learn about the breadth and depth of life from literature. While they are reading and listening stories, children enlarge their background and generate new meanings which are the foundation for their response to literature and in this way they manage to comprehend more complex literature as they grow up. In more simple words, childrens literature is that kind of literature to which children respond, it relates to their range of experience and is expressed in a language that they understand and embrace easily.

2 3

Peter Hunt: The International Companion Encyclopedia of Childrens Literature, Ed. Routledge, Canada, 1996, p. xvi. Peter Hunt: The International Companion Encyclopedia of Childrens Literature, Ed. Routledge, Canada, 1996, p. 1.

So, the importance of literature for children, as we already seen above, has many levels which have to be reached step by step and it depends of many things but, at the end of the day, it has the same resonance and the same employment for all children from all over the world no matter how their daily life is and what things are imposed to them through religion. Right bellow we will see how many types of literature for children do we have and also we will discuss the large field of themes that are involved in this type of literature and many other important things related with this subject.

1.2.

Major Themes Used in Childrens Literature

Trying to classify childrens literature is a little bit confusing, as Peter Hunt states in the International Companion of Childrens Literature: The boundaries of genreare not fixed but blurred4. Is somewhat difficult sometimes to say for sure if a given work is best categorized as adult or childrens literature. So, for this reason many books are marketed for both adults and children. Kline, in his book, says that modern and Medieval literature for children have common goals: conveying the values, attitudes, and information necessary for children and youth to survive or even advance within their cultures5. Generally speaking, literary works, by their construction, have many attributes and it include plot, characterization, symbols, and above all, themes. The themes represent the fundamental part of the work because gives focus to the story and accelerate the readers imagination. There are many different types of themes and genres used in literary books and according to those themes we can maintain a difference very well emphasized between adult books and children books, although, as I said before, the adults may have a fine taste for this type of books. When we are talking about childrens literature we think of easy, funny themes and comic action with a very easy language but with a very powerful teaching because children have to learn something about rules and about life in general from the book they are reading. There are two main divisions in which childrens literature can be divided: genre and intended age of the reader. We all know that a literary genre is a category of literary composition and it may be determined by tone, content, technique, or length. Matthew O. Grenby lists six categories of childrens literature with some significant subgenres: picture books including board books, concept books (teaching and alphabet or counting for example), pattern books, and wordless books; traditional literature, including folktales, which convey the legends customs, superstitions, and beliefs of people in past times (this genre can be further broken down into myths, fables, legends, and fairy tales; fiction including fantasy, realistic fiction and historical fiction; non-fiction; biography and autobiography; poetry and verse6.

Peter Hunt: The International Companion Encyclopedia of Childrens Literature, Ed. Routledge, Canada, 1996, p. 23. Daniel T. Kline: Medieval Literature for Children, Ed. Routledge, New York, 2003, p. 67. Matthew O. Grenby: Childrens Literature, Ed. Edinburgh University Press, Edinburgh, 2008, p. 53.

5 6

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Classifying childrens literature by age category is a little bit complicated and confusing because the criteria for these divisions are vague and books near a borderline may be classified either way. But we can remind picture books which are appropriate for pre-readers until 5 years, early reader books appropriate for children age from 5 to 7, chapter books appropriate for children ages from 7 to 12, and young adult fiction appropriate for children age between 12 and 187. Literature in general is designed to convey a message and is based on a theme and thats why many great books have been written to morally train children and to emphasize the best qualities in them. If we look better we will see that many themes in childrens books are similar to those found in adults books, especially themes dealing with emotional and societal issues. But readers are more likely to find themes centered around adventure and happiness. So, in conclusion, young adult literature reflects almost entirely the experiences of young adults such as future career goals, environmental, and political issues. The themes which are more frequent in childrens literature, as Kline states are: conquering fears, traditional folkloric themes, adventure and fantasy, cultural diversity, anthropomorphic themes such as the interaction with an animal, emotional behavior, themes based on seasons with different meaning and traditions, and many other attractive topics for children8. By making a difference between young adults literature and childrens literature, we have the opportunity to discover the fact that there is a connection with our childhood permanently and that the things that we know as adults come from our early years with the only difference that they are presented on a different scale and with a different meaning.

Matthew O. Grenby: Childrens Literature, Ed. Edinburgh University Press, Edinburgh, 2008, p. 56. Daniel T. Kline: Medieval Literature for Children, Ed. Routledge, New York, 2003, p. 70.

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1.3.

Main English Books for Children

As we have seen until now, every people group has its own mythology, unique fables, and other traditional stories. English literature in general with all its genres, starts from traditional modes of study such as Shakespeare and Romanticism to popular interest in national and area literatures such as the United States of America, Ireland, and the Caribbean. So, it is expanded enough to have the possibility for enrichment and enjoyment for all kinds of readers and to challenge preconceptions about what the study of literature might involve. Since the major theme of this work is upon childrens literature, I am going to tell you the most important works from this area considering the fact that the aim of this chapter is to convey a deepen understanding of individual childrens books, and of childrens literature as a whole by depicting the history of the form and, especially, the generic traditions that have emerged over the course of the last three hundred years. Childrens literature in Western Europe and the United States began to rise in the 1800s. The literature and didacticism of the previous age began to make way for more humorous, child-oriented books. Well, of course, in that age, chapbooks were still being published, many now specifically for children, restricting classic fairy tales and popular novels like Robinson Crusoe by Daniel Defoe, which was first published on 25 April 1719: This story is widely perceived to have been influenced by the life of Alexander Selkirk, a Scottish castaway who lived for four years on the Pacific island called Mas a Tierra9. A few years later, in 1726, Gullivers Travels, an adventure novel, was published by Jonathan Swift. It is both a satire on human nature and a parody of the travelers tales literary subgenre. In 1857 we have another major publication which is worth to be mentioned and that is Tom Browns Schooldays by Thomas Hughes. Then, in 1865, in England appeared Lewis Carrolls fantasy Alices Adventures in Wonderland, which was named the first English masterpiece written for children and its publication opened the First Golden Age of childrens literature in Great Britain and Europe that continued until the early 1900s. The year 1868 established the genre of realistic family books in the United States of America and we have as an example the fictionalized autobiography of Louisa May Alcott, Little Women:
9

Daniel Defoe: Robinson Crusoe, Ed. Edcon, USA, 2008, Introduction.

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Itself has been read as a romance or as a quest, or both. It has been read as a family drama that validates virtue over wealth. Has been read as a means of escaping that life by women who knew its gender constraints only too well10. A few years later, more precisely in 1876, Mark Twain published Tom Sawyer, which is another masterpiece of the English literature for children and not only. Realism adopted a dark turn by showing children from lower-classes being mistreated. The most popular boys material was Sherlock Holmes and similar stories from detective magazines. With the end of World War I, in Great Britain and Europe the Golden Age of Childrens Literature ended too. The period between World War I and World War II was much slower in childrens publishing, the main exceptions being only Winnie-the-Pooh by A. A. Milne in 1962, and The Hobbit by J. R. R. Talkien in 1937. Fantastic literature remained strong in Great Britain through the 1900s and also the historical novel became popular with children. The first juvenile science fiction novel was The Angry Planet by John Kier Cross published in 1947. John Goldthwaite attributes the rise of the animal story in the late 19th century to the advent of empire, electricity, and later, the automobile, and, perhaps, most importantly, of urbanization. These developments severed peoples links with nature but simultaneously encouraged a nostalgic Arcadianism that created the demand for books like Beatrix Potters The Tale of Peter Rabbit (1901), or Kenneth Grahames The Wind in the Willows (1908)11. Nowadays literature presents a whole new world beyond story and uses more complex characters, lines, and actions which take place in a very changes space. Among the major works from these days we have to remember Harry Potter series published by J. K. Rowling from 1997 until 2007. It was, and still is, an international phenomenon. Well, until now, we have discussed a few general things about literature and mostly about childrens literature. From now on we are going to debate some particular aspects of childrens literature, especially about some characters used in this type of literature having as target to find out why are so important the anthropomorphic features for a better understanding of this kind of tales.

10 11

Louisa May Alcott: Little Women, Ed. Serenity Publishers, USA, 2009, Introduction. Matthew O. Grenby: Childrens Literature, Ed. Edinburgh University Press, Edinburgh, 2003, p. 20.

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CHAPTER II:

ANIMALS IN ENGLISH BOOKS FOR CHILDREN 2.1. The Role of the Animals in Childrens Literature
Childrens literature implies a very large domain even though it seems to be a small chapter among the wide area of all kind of literatures. It is, in my opinion, the most extensive domain because it is supposed to be the one who first connects children with the taste of literature. It has a great responsibility, namely the beginning of young pupils education which is the biggest challenge for every parent and every teacher. So, according to the title, we are going to discover some ins and outs and, especially, we are going to talk mostly about non-human characters and about all kind of features that it has. As we have seen already from the beginning of this study and from our personal experience in the domain of literature, talking about childrens literature implies a lot of things and a lot of components which must be taken into account. As we have already discussed above, there are very important elements for the composition of this kind of literature such as theme, genre, metaphors, the action space and so on. However, beyond all these things, there is an element which weighs a lot more than the others and that is the anthropomorphic feature. We all know that when we were little kids we had a fine attraction for tiny plush animals both in reality and in tales. Well, this attraction has a real name in this area called literature and that is anthropomorphism. Anthropomorphism, called also personification, is any attribution of human characteristics to other animals, non-living things, phenomena, spirits, or deities. Talking about it as a literary device, anthropomorphism is strongly associated with art and storytelling where it has its roots. In childrens literature (where we find it most) features in animal fiction and in doll and toy stories. As Robert W. Mitchell states: The idea that anthropomorphism is connected to a peculiarity of human thinking-a type of cognitive default rather than a veridical perception-underwrites much of the controversy about animal minds, although the peculiarity is seldom specified in much detail12. Using animals in childrens literature has a very important role, in my opinion, because, as we have seen in Mitchells statement, there are many resembling from human attitude that can be

Robert W. Mitchell, Nicholas S. Thompson, and H. Lyn Miles: Anthropomorphism; Anecdotes and Animals, Ed. University Press, USA, 1997, p. 62.

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attributed successfully to animals in order to make the story very attractive for children. If we take a better look, there are many cultures possessing a long-standing fable tradition with anthropomorphized animals as characters in which we can easily observe types of human behavior. Anthropomorphic motifs have been common in fairy tales from the earliest ancient examples set in a mythological context to the great collections of the Brothers Grimm and Perrault13. Among first stories with animals available to children were fables and fairy tales with their talking animals which were very attractive for kids. Starting with the 18th century, animals have featured in books as friends of the protagonists which were usually human. So, we can freely speak about anthropomorphism because it existed since ever in every writing and in every tale made specifically for children. The Romantic belief in the childs unity with nature is a major impetus behind the production of animal stories for a young audience; and the childs capacity to endow things with life in pretense play, blurring the boundaries between animate and inanimate objects, is a further element that inspires writers to do likewise in childrens books14. Nowadays, animals have a key role in fantastic literature and hold a very large area in picture books especially. Why do we say that there is a very important role of the animals in childrens literature? Well, because tension between animals and humans can represent that between children and adults, or the Romantic notion of the childs unity with nature may surface in the form of a special relationship between animals and children15. So, if you agree with me, there are a lot of motifs for which we find extremely necessary the use of the animals in childrens literature. There is a strong connection between a childs mind and a tiny plush bear for example. In general, children react promptly when they see and hear talking a plush animal, rather if that animal has the same thoughts as the child does; animals make children to develop a great interest for literature, even from young childhood, which is the most important for their education and for their own opinions in what concerns thoughts and beliefs. In short words, this kind of tales help us, the adults, to give a proper education to our children and to develop in a good way their imagination. As every kind of story there are many different types of animal tales such as moral or developmental account that explore purely human behavior or emotions; narratives in which the

13

Robert W. Mitchell, Nicholas S. Thompson, and H. Lyn Miles: Anthropomorphism; Anecdotes and Animals, Ed. University Press, USA, 1997, p. 76. 14 Emer OSullivan: Historical Dictionary of Childrens Literature, Ed. Scarecrow Press, London, 2010, p. 30.

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main character is interpreted by an animal and that observes or comments upon human conduct; or stories that describe the behavior of animals in their natural habitat. Animals can feature to great comic effect in stories that range from animals getting up to funny antics through social comedy with animals representing types of human characters16. Also, anthropomorphism can vary in degree meaning that there are characters which are essentially humans with animal heads; or animal characters that wear clothes, possess technology, and have human activities but are guided by animal instincts; or animals that have the physical attributes and instincts of their real-life counterparts, being different only in their capacity to reason and speak. As Sullivan states in his book: The functions of anthropomorphism in literature range from using animals to illustrate simple moral lessons, as in fables, to generating greater sympathy for the animal and natural world; it can also be used for the purpose of social criticism17. In my opinion, in this quotation we find all the principal features of anthropomorphism. Well, I think that some authors use anthropomorphism in order to make their characters more human and, first of all, more interesting for the readers because animal behavior is fascinating in and of itself and doesnt have to be obscured by ascribing human characteristics to animals. As a highly literary culture, we make use of texts regularly to organize our thoughts, relay values, and dialogue with each other. In many cases, for adults as well as for children, animal characters are there to help us wrestle with complex and emotionally difficult situations. The authors urge teachers and parents to consider this function of childrens literature and to use the appealing anthropomorphic device of animal characters in developing curriculum and opening dialogue with children about issues of cultural significance. In spite of all these things, some authors think that anthropomorphism can confuse children and lead them to believe that animals think and act in reality just as humans do. It is true the fact that we have to be careful and put a well emphasized limit between human and non-human characters when we are reading an anthropomorphic story to our children but, above all, I think that animals have a very important role in childrens literature, if not a primordial one, because in this way they can be very good friends with literature in general and can presume a very good education.

15 16

Emer OSullivan: Historical Dictionary of Childrens Literature, Ed. Scarecrow Press, London, 2010, p. 28. Emer OSullivan: Historical Dictionary of Childrens Literature, Ed. Scarecrow Press, London, 2010, p. 29. 17 Emer OSullivan: Historical Dictionary of Childrens Literature, Ed. Scarecrow Press, London, 2010, p. 32.

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2.2. The Connection Between Human and Non-Human Characters

Non-human characters fascinate us, they have appeared in art and stories throughout time and across most human cultures, in our stories and art, particularly in childrens literature, fantasy, and folktales. There is a sense of a larger community of beings of which we are one part and in which we take delight. The idea of continuity between humans and other animals has generated an ongoing interest and debate about boundaries between species, about kinship, and particularly about what it is that makes us human. Many of the twentieth centurys findings of animal studies scientists in behavior, language acquisition, use, and genetics have challenged species classifications and assumptions about the capacities of nonhuman characters. Childrens literature is frequently our first meeting with written words. Everybody knows that at a very young age there is that curiosity of starting to know everything, especially to know numbers and letters which represent the gate to knowledge. The tales that we have heard and the morals which reveal help to outline our views as we learn to read and take meaning from what we read. While almost all adult literature deal with human characters can be assigned genders. If one wants to test the gender relevance of a text, deciding what relationships of power and authority are transmitted through the language and characterization, he must study its gendering of non-human characters. Thus, according to this statement, we understand that, from the beginning, there is a strong connection between human and non-human characters and between non-human characters and childrens literature. Upon this subject the Forliz Study of Childrens Literature found: in the titles of books, 2-3 human males to every human female; male animals outnumbered female animals by almost 6 to 1; for central characters in books, the ratio for the whole period was three males for every female; the leaning towards males was greater if focus was on adult characters, less if focus was on child characters and much greater if focus was on animals; as for change, the imbalance in depicting males and females varied through the century: representations of males and females were more egalitarian in the early decades of the century and in the 1970s and 1980s, while in the male-female balance among adult characters and animal characters, males got more prominent overtime18.

18

Graverholz and Pescosolido: Gender Representation in Childrens Literature, Ed. Routledge, London, 1989, p. 113.

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These characters are surprising and it is mainly interesting that they unveil gender balances shifting in the period 1970-1990. Feminist studies in childrens literature have claimed that the female role models offered to children in fairy tales and nursery rhymes are not at all liberating (which happens nowadays too frequently if we look beyond appearances). If we look better at some of the most popular childrens books, we can easily observe that gender inequalities are represented there and not only in this domain but in all literature area. For instance, we have Kenneth Grahames book, The Wind in the Willows, which we are going to discuss later in this work, where most of the characters are male. Another main book that we are going to discuss here, Winnie- the- Pooh by A. A. Milne, also presents an overwhelming male world, more exactly, a non-human male world. As we can see, in childrens fiction, characters are gendered, but this is not the most relevant factor. Thinking about this whole world, well see that non-human characters may be viewed as a marginal case of the same mental event: their obvious ability to react to their surroundings complicates matters since it supplies proof of sentience, but their inner life-their susceptibility to what we might call human passion-remains inscrutable19. But there is another side to our relationship with non-human characters, especially in the modern Western world. Over the last 150 years, in response to EuroAmerican Industrialization practices and some aspects of empirical laboratory investigation, a steadily growing concern for animal welfare and animal rights has arisen. Increasingly we are coming to understand that our actions in pursuit of perceived human goals have resulted in the devastation of our natural environment, including wild animal habitats and populations. Animals are selves in many of the ways that we are, that capacities such as emotional expression and cognitive processing are present in non-human animals in ways both similar to and distinct from our own, and that we can understand and relate with individual animal selves in ways that are not dependent on language. Animal characters are presented in two broad ways, symbolic human and animal self. They are distinguished by physical presentation, character voice, and by the activities engaged in. The imaginative development of naturalistic animal protagonists may itself be informed by the direct experience and knowledge of animal selves. Traditional language implies a continuity between human and non-human character experience. Admitting that non-human animals are in some sense aware is equal to the fact that they
19

Bruce Thomas Boehrer: Animal Characters: Non-Human Being in Early Modern Literature, Ed. University Press, Pennsylvania, 2010, p. 2-3.

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are somehow connected with the mental and emotional equipment of human experience. By doing this we take the first step in the direction of sentimental anthropomorphism. Just as Aristotle states: Animals are seen to have a certain natural capability in relation to each of the souls affections-to intelligence and stupidity, courage and cowardice, to mildness and ferocity, and the other dispositions of this sort. Certain animals at the same time are receptive of some learning and instruction, some from each other, some from humans20. Humans and non-humans share the same basic components of character so there is a strong connection between them which is why non-human characters are used in childrens literature and not only. Thus we can comprehend the notion of character as a complex of ethical qualities or tendencies like courage and cowardice, generosity and jealousy, calmness and irascibility, held both by human and non-human characters equal to a greater or lesser rank, related to the body in both casual and expressive manner, and susceptible to classification just as are the physical qualities that distinguish one class or species of being from another. Characterization is usually understood as being limited to human, while the non-human characters are understood simply as an extension of the human; so, in more simple words, the nonhuman characters should be understood as characters with their own individual morality and integrity; even from definition we realize that there is a connection between human and non-human. As we well know, non-human is a general term that describes an object or creature that displays some human characteristics. That said, it is very easy to compare these terms and to use them in literature being it for children or, why not, universal. We can find some non-human characters in all kind of books with all kind of subjects. In conclusion, human and non-human characters own the same main features and we can assert the fact that there is a strong connection between them and that both have the same importance in literature and convey the same things.

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2.3. Types of Non-Human Characters

The literature for young readers is full of animal characters widely understood to be symbolic humans. They are designed to provide the reader with a combination of delight and the neutrality and emotional distance thought to be indispensable for navigating various stages of maturation or complex and charged social issues. But we have to take into account the fact that animal characters may sometimes be understood as animal selves, and not as symbolic humans. The interest for this area has been gaining a lot of credits, resulting the dilemma of what animal selves might consist of and how we may already know those selves. Current thinking on the function and role of animals in childrens literature is briefly discussed. The study itself is designed to distinguish patterns in animal characterization in order to build the framework for the disambiguation of anthropomorphism, a term referring to the common practice, often considered a categorical fallacy of attributing human like characteristics to nonhumans. In a recent study consisting of a survey and analysis of some contemporary childrens books with domestic animal characters were developed using criteria from theoretical concepts presented on animal selfhood: significant differences were found in those characters portrayed as clothed and bipedal and those presented more naturalistically, in the activities engaged in, and in the characters voices suggesting at least two broad approaches by authors and illustrators to animal characters, here labeled symbolic human and animal self21. Non-human characters spread something like a spell upon us, not only in literature but in the real life too. They have appeared in art and stories throughout time and across most human cultures. Animal characters are showed in two extensive ways: symbolic human and animal self. They only distinguish in physical presentation, in character voice, and by the activities engaged in. Some results of animal studies scientists in behavior, language acquisition, use, and genetics have challenged species classifications and assumptions about the capacities of non-human characters. Associations between children and animals raised in Anglo-American culture, and they are often portrayed together in visual images. Animals are primordial in childrens literature; they provide simplicity, neutrality, and challenge even if we talk about a bear, a rabbit, a turtle, a dog, or
20 21

Aristotle: Historia Animalum, Ed. Cambridge University Press, London, 2011, p. 215. Bruce Thomas Boehrer: Animal Characters: Non-Human Being in Early Modern Literature, Ed. University Press, Pennsylvania, 2010, p. 10.

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a kitty. These are the most common, but we have also more special non-human characters as a mole, a water rat, or a badger like we have in Kenneth Grahames book The Wind in the Willows. It is difficult to imagine these animals wearing clothes, walking bipedal, having last hour technologies, being very polite to each other but, in the last minute, this is why anthropomorphism is used in childrens literature, because it transmits something funny but, in the same time, something which can be very attractive for young readers, making them falling in love very easy with literature. Due to the fact that animals in children stories walk and talk like people are considered to be symbolic humans delighting us with their simultaneous similarities and differences from us. About the realistic portrayals of animals as characters, although they have been with us since the British childrens book publishing industry began to flourish in the mid-eighteenth century. Just as human narrators are, animal protagonist narrators may be considered animal selves telling the story from their own perspective. The tales of this type, were often general life histories, commentary on human behavior, or anti-cruelty stories, which fit very well upon non-human characters. Toward the end of the nineteenth century and into the twentieth, a style both dramatic and realistic was being developed. According to their naturalistic character portrayals and settings, these books emphasize relationships among the animals or between animals and humans that are rich, mannered, important, and recognizable from the perspective of the reader. So we have to deal with very sophisticated types of non-human characters, which is quite strange to imagine that a mole can be friendly and smiling, or that a bear can walk and talk like a man and wear clothes like a man, but at the end of these, we have to admit that this is the salt and pepper of childrens literature. For example, animal characters who are symbolic humans, tend to speak out loud using human language; they are bipedal and often wear clothing. These characters engage in human activities like cooking, using carpenters tools, and superhero adventuring. Historically, animals have been portrayed in two broad ways in childrens literature: as symbolic humans, animals are neutral stand-ins who help young readers navigate life issues; as realistic animal characters, animal selves, they provide glimpses into a more-than-human world22. Traditionally animals are observed closely in daily life, their powers and behaviors, and this feature makes the tale and especially the characters more truly. We have seen until now that animals are emotional and feeling beings, they are conscious individuals; they are not interchangeable and they are self-aware in a different way than we are. So, all these features show the fact that nonRobert W. Mitchell, Nicholas S. Thompson, and H. Lyn Miles: Anthropomorphism: Anecdotes and Animals, Ed. State University Press, USA, 1997, p. 33.
22

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human characters are divided in many types just like humans do. Non-human characters suffered some dramatic changes in animal character types. In early modern European culture, animals not only served humans as sources of labor, clothing, and food, they helped to form an understanding of personhood. Having all these as examples, I think that is more than clear the fact that non-human characters divide into many different character types not only in literature but also in real life. Anyway, we take into account these aspects from childrens literature point of view because animals with their human resemblance have a very important role to accomplish in this area.

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CHAPTER III:

ANTHROPOMORPHIC FEATURES IN TWO MAIN WORKS 3.1. A. A. Milne: Winnie-the-Pooh

Alan Alexander Milne (1882-1956) was an English author and he became well known especially for his book about the teddy bear Winnie-the-Pooh. He was a renowned writer, first of all as a playwright, before the huge success of Winnie-the-Pooh which overshadowed all his previous work. Milne published eighteen plays and three novels, including the murder mystery The Red House Mystery (1922). A few years later, in 1925, a collection of short stories for children, Gallery of Children, and other stories that became part of the Winnie-the-Pooh books were published. He also was a screen writer for the nascent British film industry, writing four stories filmed in 1920 for the company Minerva Films: The Bump, Twice Two, Five Pound Reward, and Bookworms. But Milne is most famous for his two Pooh books about a boy named Christopher Robin after his son, Christopher Robin Milne, and also most of the characters were inspired by his sons stuffed animals, most notably the bear named Winnie-the-Pooh; only two characters were created by Milnes imagination: Rabbit and Owe. The success of his childrens books was to become a source of considerable annoyance to Milne, whose self-avowed aim was to write whatever he pleased and who had, until then, found a ready audience for each change of direction: he had freed pre-war Punch from its ponderous facetiousness he had made a considerable reputation as a playwright on both sides of the Atlantic; he had produced a witty piece of detective writing in The Red House Mystery23. Also Kenneth Grahames novel The Wind in the Willows, which we are going to discuss next, was adopted by Milne for the stage as Toad of Toad Hall, and so a special introduction written by Milne is included in some editions of Grahames novel. In this story, Winnie-the-Pooh, we have the opportunity to find very little funny characters and very funny actions but, also, very important lessons to learn which is why I have chosen this one for my work. The Pooh stories were translated into many languages, including Alexander Lenards Latin translation, Winnie Ille Pu, which was first published in 1958. The first collection of stories about the character was the book Winnie-thePooh (1926) and was followed by The House at Pooh Corner (1928).

23

Ernest H. Shepard: Complete Tales of Winnie-the-Pooh, Ed. Dutton Childrens Books, New York, 2001, p. 63.

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Milne also included a poem about the bear in the Childrens Verse Book When We Were Very Young (1924) and many more in Now We Are Six (1927). All four volumes were illustrated by E. H. Shepard. Winnie-the-Pooh, also called Pooh Bear, is a fictional anthropomorphic bear. The Pooh books are Milnes gift for his son, Christopher Robin. Due to the fact that it was written for a child, they reflect the concerns, the games, and the guidance of an ongoing childhood. In the course of two multi-chapter books, Christopher Robin and his boy animals, have one adventure after anothereverything from filching honey from the angry bees to welcoming Tigger (a very bouncy animal), consoling Eeyore (the gloomy donkey), enduring a flood, and seeking out the South Pole24. What I think is very important to emerge here is connected with the description of some main characters from this story. Due to the fact that it is the most prominent character from the tale Ill take into discussion the little bare Winnie the Pooh or shorter Pooh, is designed as a small golden bear wearing an old red color t-shirt. He is a friendly character and thoughtful who is always willing to help his friends, although, sometimes his best intentions make things worse. His great love is, as you all can imagine, the honey which sometimes leads to trouble. Since he is the main character he is best friend with everyone in the 100 Acre Wood. Christopher Robin the only main human character for whom the story was originally written. He has a great personality and despite being a child, he is much wiser and more mature than the other characters. Also he is everyones best friend and takes part in activities to help his friends to get out of tricky situations. What he likes doing best is, surprisingly, nothing: It means just going along, listening to all the things you cant hear, and not bothering.25 Piglet he is Pooh best friend especially because he is a kind, gentle and small animal who is quite shy. Deep inside, he is very brave and with no fear faces danger in order to help his friends. Eeyore he is best described as a slow-talking, sarcastic and pessimistic donkey friend who has trouble keeping his tail attached to his bottom. He is more sensible than other animals and is often reluctant to go along with their actions, but usually does not bother trying to oppose anyone because he believes it to be futile to try.

24 25

A. A. Milne: Winnie-the-Pooh, Ed. Penguin Groups, USA, 2009, p. ii. A. A. Milne: Winnie-the-Pooh, Ed. Penguin Groups, USA, 2009, p. 16.

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Tigger he is a less responsible and trouble-making tiger friend. He loves to bounce, especially bouncing on others; he is full of energy, likes to have fun and is so overconfident. He is easily recognizable by the stripes, springy tale, and his long chin. Rabbit is one of the two real animals which are recognized by their actual animal names in Milnes books. He is a little bit pushy and takes his own decisions and also, has a very elevate vocabulary. He likes doing things in his way and is obsessed with rules, order and planning and often loses his temper. Owl - Owl is the stuffy and talkative main character who acts as a mentor and teacher to the others; he was not based on a stuffed toy, so in the illustrations, he looks more like a live animal. Along with Rabbit he is considered to be the smartest animal because he is capable of writing and some illustrations face him holding a pen in his talons. The language used in this book is extremely childish and includes bursts of poetry, rudimentary logic, and a great deal of remarkably in-depth character study. Every character has his own personality as we saw above: neurotic Eeyore, impulsive Tigger, self-important Rabbit and Owl, humble Piglet, no-nonsense Kanga, and, of course, direct and simple Pooh. The animals might be any group of typical siblings or playmates and teach, through their adventures, many real life lessons26. Besides all these, the story reflects a very good understanding of the way in which children think and play; they are gently guided into a rich world of child sized experiences, observing cause and effect and non-magical solutions to problems which are play versions of situations they will have to deal in real life; the good characters are encouraged and the mean ones are shown as silly; and also, real virtues are thought, especially charity and humility. Another important aspect is the fact that very little mention is made of family life. Christopher Robin is an only child and is, himself, the parent to the animals. This can be very amusing as he solves problems with the mind of a young child, but obviously, nothing of real family life can be thought27. This story takes us into a world of autonomous creatures living in a private wood, having their own houses and fancy daily doings. Chapter one brings us the young child pulling Winnie-the-Pooh behind as he descends the stairs to visit his father in the evening. Chapter two through five, each are complete adventures, introducing more characters. At the end of chapter six we are reminded that a father is telling these stories to his sons bear, when the boy asks
26 27

Ernest H. Shepard: Complete Tales of Winnie-the-Pooh, Ed. Dutton Childrens Books, New York, 2001, p. 65. Sonia Vogl: Animals and Anthropomorphism in Childrens Literature, Ed. Macmillan, Australia, 1996, p. 16.

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details about his birthday gift to Eeyore. Chapter nine includes an aside to the reader, and chapter ten ends the same way as chapter one, with the author describing Christopher bumping Pooh back up the stairs. The Pooh books have been taken over by Disney Studios and presented in both cartoons and picture books. Winnie-the-Pooh is a very good book indeed, enjoyable to both children and adults. So, in my opinion, this is one of the most interesting story for children from which we have many good things to learn and also spend a very good time reading it.

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3.2. Kenneth Grahame: The Wind in the Willows

Kenneth Grahame (1859-1932) was a Scottish writer, most famous for The Wind in the Willows (1908), one of the classics of childrens literature. He also published light stories in London periodicals such as the St. James Gazette. Only after ten years from his penultimate book he published his masterpiece The Wind in the Willows. This book was a real hit and is still very popular for both adults and children. Also, with this book, he won the Lewis Carroll Shelf Award in 1958. Since its first publication in 1908, entire generations of readers have beloved Kenneth Grahames classic novel The Wind in the Willows. In this charming lyrical world of gurgling rivers and whispering reeds live four of the wisest, wittiest, noblest, and most lovable creatures in all literature: Rat, Mole, Badger, and Toad of Toad Hall. They are true adventurers who love lifes simplest pleasures and natural wonders. As I just said, it focuses upon four anthropomorphized animal characters in a pastoral version of England. The novel its well known for its mixture of adventure, morality, mysticism, and camaraderie, and celebrated for its evocation of the nature. It was, and still is such a great book, that the play-writer A. A. Milne adapted a part of it for the stage as Toad of Toad Hall in 1929. About the main characters there is a lot to say and to think, so we have a short description right below: Mole-a mild-mannered, home loving animal, and the first character to be introduced, fed up with spring cleaning in his secluded home, he ventures into the outside world; Ratty-actually a water vole is cultured, relaxed, and friendly, with literary pretentions and a life of leisure; Mr. Toad-good natured, kind-hearted and not without intelligence; Mr. Badger-gruff and solitary, who simply hates society; Otter and Portly-a friend of Ratty, Otter is tough and self-sufficient, Portly is his young son; and inhabitants of the Wild Wood-are described by Ratty as all right in a waybutwell, you cant really trust them28. It is necessary to present here a very well detailed description of some of the main characters from this story. So, I will begin with Mr. Badger who is a kind but lonely character for a simple reason, he hates society and crowds. Physically we can describe him having a big black and white head and is a very strong animal. He is perceived like the wise personage who always advises and guides the other characters. He is that kind of friend who will always come and help if you need him.

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Mr. Toad as we all can figure from the novel, he is the richest character and the owner of Toad Hall. He never learns from his mistakes and although he is good natured he is impatient and adores adventure. He has an obsession with cars even though he doesnt want to take some driving lessons. He is strong and fearless and finally, he forgets about cars. Ratty he appears as a very kind character, hardworking, relaxed, and friendly. He loves the river which is why he shows the Mole many interesting things about it. He has a brown little face with whiskers, bright eyes, small ears and thick shiny hair. The Mole he is a mild mannered home loving animal because, being the first character presented in the story, we find him cleaning his house for spring. He is shy, hardworking and, strangely, enjoys sunshine and loves the river which is why he wants to swim and to row a boat. At the beginning of the novel, Mole has a sudden case of spring fever, as we saw in the description above, gives up his house cleaning, and wanders in the fields and meadows. He finds himself by a river and because he has been such a stay-at-home he has never seen it, and there meets the Water Rat, who invites Mole into his boat: Believe me, my young friend, there is nothingabsolutely nothing-half so much worth doing as simply messing about in boats29. From that moment, a world of friendship, of picnicking, and playing opened for Mole. A few chapters later, Mole, Water Rat, and the Badger go to Toad Hall in order to help their friend, Mr. Toad, who has a bad habit of reckless driving. Because of his irresponsible life, he loses his home and his fortune. The four friends go to battle to regain Toad Hall. A t the end of the book there is a celebration where all the friends rejoice at Toads return. Beyond the charming story, there is an insidious encouragement in kindness, patience industry, and loyalty. This story presents the meaning of true friendship. For example, Badger reproofs Toads foolishness: Independence is all very well, but we animals never allow our friends to make fools of themselves beyond a certain limit, and that youve reached30. Also, in this novel the leisure is well emphasized. Nowadays people shift back and forth from work to working at making recreation, generally, we forget the value of spontaneous play. In The Wind in the Willows,

28

Jackie C. Horne and Donna R. White: Kenneth Grahames The Wind in the Willows: A Childrens Classic at 100, Ed. Scarecrow Press, USA, 2010, p. 19. 29 Kenneth Grahame: The Wind in the Willows, Ed. Smithmark Pub, New York, 1988, p. 5. 30 Kenneth Grahame: The Wind in the Willows, Ed. Smithmark Pub, New York, 1988, p. 26.

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the river is where leisure is enjoyed. The Wind in the Willows shows us a quartet of endearing characters, friends with real virtues contributing to each other moral growth31. As I said before, the story emphasizes the power of close friends and provides something that few novels of its time can claim: all round entertainment for all ages and for all generations. The story shapes the image of English life, an upper-middle-class take on the world in which the country side is covered by a relentless summer time. The characters are completely humanized and they embody the English values of fortitude and good humor. This is a book which has everything to please children. It is a thrilling adventure, with moments of terror, but, at the same time, the story is also very reassuring. This book is separated into two books: on the one hand, we have chapters concerned with the adventures of Toad, and on the other hand, there are some chapters that explore human emotions. The Wind in the Willows is one of the greatest childrens books of all time due to the fact that includes such great anthropomorphized characters and such great learning which is very useful for young readers.

31

Jackie C. Horne and Donna R. White: Kenneth Grahames The Wind in the Willows: A Childrens Classic at 100, Ed.

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CONCLUSIONS
Childrens literature is full of animal characters widely understood to be symbolic humans. They are believed to provide the reader with a combination of delight and the neutrality and emotional distance considered necessary for navigating various stages of maturation or complex and charged social issues. The main theme of this work was childrens literature and one of his features, the anthropomorphic characters. We call it also juvenile literature and, as we well know, includes stories, books and poems that are enjoyed by children. Nowadays, childrens literature is classified in different ways: by genre or by the intended age of the reader. This kind of literature has its roots in the stories and songs which were told through oral communication. Due to the inability to publish stories, it may be difficult to track the development of early childrens literature. About all this and about how literature for young readers developed, is discussed in the first chapter. Another important part is the anthropomorphism used in childrens literature. The use of the animals as characters, brought something different and also something very useful for the development of childrens literature. Anthropomorphism or personification means any attribution of human characteristics to animals. It is associated with art and storytelling where it has ancient roots. Most cultures have a tradition anthropomorphized animals as characters that can stand as commonly recognized types of human behavior. Non-human animals fascinate us. They have appeared in art and stories throughout time and across most human cultures. In our stories and art, particularly in childrens literature, fantasy, and folktales, we ourselves transform into other animals, we communicate with them, we even marry them, live with them, and learn from them. There is a sense of a larger community of beings of which we are one part and in which we take delight. Animal characters may sometimes be understood as animal selves, and not as symbolic humans. Interest in the selfhood of nonhuman animals has been gaining ground in academic debates in the fields of animal and cognitive science, philosophy of mind, and anthropology, resulting in theoretical work that paints an intriguing picture of what animal selves might consist of and how we may already know those selves.

Scarecrow Press, USA, 2010, p. 35.

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Anthropomorphic characters were created for amusement and in order to make it easier for children to approach literature. As you have the possibility to see in my work, I have chosen, in order to emphasize anthropomorphism, two main works: Kenneth Grahames The Wind in the Willows, and A. A. Milnes Winnie-the-Pooh. I think that these two stories reveal the true aspect of anthropomorphism and also include the main features of childrens literature. Winnie-the-Pooh reveals the story of an anthropomorphic bear and because it was written for a child, Milnes child, it reflects the concerns, the games, and the guidance of an ongoing childhood. The Wind in the Willows, is a novel which focuses upon four anthropomorphized animal characters in a pastoral version of England and it is well known for its mixture of adventure, morality, mysticism, and camaraderie. So, anthropomorphism is a very complex subject to discuss because it implies many areas, but its more important role is the educational one which implies many responsibilities. Besides, childrens literature represents a primordial phase that cant be replaced by anything. It has the freedom to express in so many ways, which, of course, makes it more useful. Usually, childrens stories have always been accompanied by pictures. They are written in a very simple language and contain many illustrations which represent another strength for this kind of literature. Because children are often considered to be growing through earlier stages of human development when, it is supposed, humans were closer to other animals, they are especially drawn to animals. They understand animals as fictitiously standing in for them and for other people. Normally, the development of childrens literature is based on the social, educational, political, and economical resources of the country or ethnic group. Eventually, childrens literature is a part of the mainstream of all literature domains. It orders, evaluates, explores, and illuminates the human experience through imagination. So to speak, childrens literature is that kind of literature to which children react. It relates to their range of experience and is expressed in a language that they understand and embrace easily.

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BIBLIOGRAPHY
1. Alcott, May Louisa, Little Women, Ed. Serenity Publishers, USA, 2009. 2. Aristotle, Historia Animalum, Ed. Cambridge University Press, London, 2011. 3. Boehrer, Bruce Thomas, Animal Characters: Non-Human Being in Early Modern Literature, Ed. University Press, Pennsylvania, 2010. 4. Defoe, Daniel, Robinson Crusoe, Ed. Edcon, USA, 2008. 5. Goodman, Lizabeth, Literature and Gender, Ed. Routledge, London, 1996. 6. Grahame, Kenneth, The Wind in the Willows, Ed. Smithmark Pub, New York, 1988. 7. Graverholz, Pescosolido, Gender Representation in Childrens Literature, Ed. Routledge, London, 1989. 8. Grenby, O. Matthew, Childrens Literature, Ed. Edinburgh University Press, Edinburgh, 2003. 9. Horne, C. Jackie, Kenneth Grahames The Wind in the Willows: A Childrens Classic at 100, Ed. Scarecrow Press, USA, 2010. 10. Hunt, Peter, The International Companion Encyclopedia of Childrens Literature, Ed. Routledge, Canada, 1996. 11. Kline, T. Daniel, Medieval Literature for Children, Ed. Routledge, New York, 2003. 12. Milne, A. Alexander, Winnie-the-Pooh, Ed. Penguin Groups, USA, 2009. 13. Mitchell, W. Robert, Anthropomorphism: Anecdotes and Animals, Ed. State University Press, USA, 1997. 14. OSullivan, Ernest, Historical Dictionary of Childrens Literature, Ed. Scarecrow Press, London, 2010. 15. Shepard, Ernest, Complete Tales of Winnie-the-Pooh, Ed. Dutton Childrens Books, New York, 2001. 16. Stoodt, Barbara, Childrens Literature: Discovery for a Lifetime, Ed. Macmillan Education, Australia, 1996. 17. Vogl, Sonia, Animals and Anthropomorphism in Childrens Literature, Ed. Macmillan Education, Australia, 1996.

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ANTROPOMORFISMUL N LITERATURA ENGLEZ PENTRU COPII

Dup cum am vazut n aceast lucrare, literatura pentru copii reprezint cea mai important parte din cultura unei persoane deoarece ea i face debutul nc din fraged pruncie, astfel oferindune ocazia de a dezvolta o perspectiv ct mai ampl despre literatur ca un ntreg, despre timp, spaiu i despre toate lucrurile care ne coloreaz viaa de zi cu zi. De asemenea, ne deschide noi orizonturi spre o altfel de realitate facndu-ne capabili s ne formm propriile opinii despre situaiile cu, care suntem confruntai n realitatea de dincolo de cri. Astfel de argumente, n opinia mea, reprezint cel mai bine concepia pe care ar trebui s ne-o crem despre literatur nc din copilrie i astfel s dezvoltm capacitatea de a-i ajuta pe cei mici s se ndrgosteasc de literatur. Literatura pentru copii i are originile n cntecele i povetile spuse pe cale oral cu mult nainte de a exista posibilitatea unei editri. Ceea ce este diferit dar foarte interesant la acest gen de literatur este faptul c autorul se poate juca n foarte multe feluri cu spaiul n care se desfoar aciunea, cu tipul de aciune pe care vrea s l prezinte, dar mai ales poate jongla cu felul personajelor pe care decide s le prezinte ntr-un mod foarte nostim. Personajele ntruchipnd oameni cu tot felul de caractere, personaje pozitive sau negative din crile pentru aduli, pot fi nlocuite cu personaje interpretate de animlue mici i dulci care s i atrag pe cei mici i de ce nu, i pe cei mari. Acest artificiu folosit n literatura pentru copii se numete Antropomorfism i se definete prin atribuirea unor nsuiri i caliti umane unor fiine non-umane, obiecte sau fenomene naturale ori supranaturale. Numai n acest gen de literatur putem vorbi despre personaje antropomorfice privite dintr-un punct de vedere distractiv, ceea ce ne ofer posibilitatea de a descoperi o lume total nou dincolo de ficiune i de replicile haioase. Antropomorfismul este prezent n multe cri din literatura englez pentru copii i nu numai. l gsim n literatura universal, n toate formele i cu tot felul de subiecte, ncercnd s expun realitatea care se ascunde dincolo de acele mici animlue i dincolo de conversaia oarecum amuzant. n aceast lucrare, am ncercat sa cuprind tot ceea ce este esenial pentru nelegerea acestui tip de literatur i din acest motiv am nceput prin a relata anumite lucruri generale despre literatura pentru copii. n primul capitol intitulat simplu Literatura pentru Copii, am expus cele mai eseniale
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informaii despre aceast arie i anume: importana acestui gen de literatur pentru copii, cele mai importante teme care se regsesc n aceste cri i, desigur, care sunt cele mai importante cri din literatura pentru copii. Dup aceast scurt introducere n lumea copiilor, am nceput prin a descrie cea mai important caracteristic a acestui gen de literatur, antropomorfismul: rolul animalelor n literatura pentru copii, conexiunea care exist ntre personajele umane i cele non-umane i, bineneles, ce fel de personaje antropomorfice ntlnim cel mai des n literatura englez pentru copii. Dat fiind faptul c am discutat despre tot ce era important pentru a nelege frumuseea acestui gen de literatur i mai ales c am dezbtut pe larg tema acestei lucrri, am considerat c este imperios necesar s aduc n completarea ei, dou dintre cele mai frumoase i mai explicite poveti care implic antropomorfismul la cel mai nalt grad i anume: Winnie-the-Pooh i The Wind in the Willows. Aceste capodopere cred c sunt cele mai reprezentative pentru a nelege ideea de antropomorfism n literatura pentru copii i tocmai din acest motiv le-am ales pentru a face parte din aceasta lucrare. n cele din urm, literatura pentru copii reprezint cea mai important parte din domeniul literaturii. Ordoneaz, evalueaz i ilumineaz oarecum experiena uman prin intermediul imaginaiei. Altfel spus, reprezint un ntreg care ne ajut s cretem, s evolum i s ne formm ca aduli i tocmai din acest motiv eu cred c este cea mai important parte din viaa fiecrei persoane.

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Domnule Rector,

Subsemnata, Gorun Elena-Loredana, domiciliat n Tg-Jiu, Str. Olteului, Bl. 1, Sc. 2, Ap. 14, jud. Gorj, masterand n cadrul Universitii din Craiova, Facultatea de Litere, Master Studii Anglo-Americane, declar pe proprie rspundere c prezenta lucrare de disertaie cu titlul Anthropomorphism in English Books for Children, realizat sub ndrumarea doamnei profesoare Aloisia orop, nu este un plagiat.

V mulumesc!

Data: 01.07.2013

Semntura: Gorun Elena-Loredana

Domnului Rector al Universitii din Craiova, Judeul Dolj!

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