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Issue Details: First known date: 2018... 2018 Affect, Emotion, and Children's Literature : Representation and Socialisation in Texts for Children and Young Adults
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Contents

* Contents derived from the New York (City), New York (State),
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United States of America (USA),
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Americas,
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Abingdon, Oxfordshire,
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England,
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United Kingdom (UK),
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Western Europe, Europe,
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Routledge , 2018 version. Please note that other versions/publications may contain different contents. See the Publication Details.
'Would I Lie To You?' : Unreliable Narration and the Emotional Rollercoaster in Justine Larbalestier's Liar, Betina Kümmerling-Meibauer , single work criticism

'Books with evil children as main protagonists can be disturbing, even more so when they appear in literature targeted at children and young adults. Very often these evil characters provide an emotional counterpoint to positively represented characters and generate antipathetic feelings. The main protagonist in Liar is Micah Wilkins, who lives with her family in New York. Told from her point of view, the story moves between the present, which focuses on her everyday life at high school, and the past, which relates Micah's family history and how she met her boyfriend. As with the acquisition of empathy, cognitive psychologists distinguish at least four developmental stages. Cognitive empathy is the capacity to understand another's mental state or perspective. Lying is closely connected to moral issues and ethical debates focusing on whether all lying is wrong, as in the case of prosocial lies, such as polite lies and white lies.'

(p. 113-126)
Spatialities of Emotion : Place and Non-place in Children’s Picture Books, Kerry Mallan , single work criticism

'One of the key functions of literature and film is to represent and evoke emotion. Unlike conventional narrative approaches common to novels and films that rely on narrative action and dialogue to evoke emotion, picture books offer a different affect through minimal dialogue or description, aesthetics, and stylistic inventiveness. The concept of non-place offers an additional means for exploring how places and spaces in picture books embody some of the characteristics that Augé describes. Writers for young people often promote emotional engagement with characters and place by orienting their readers in both real and imaginary spaces, creating geographies of emotion.' 

(p. 129-145)
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