Erica Hateley Erica Hateley i(A75637 works by)
Gender: Female
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Works By

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1 Art, Adaptation, and the Antipodean in Shaun Tan’s The Lost Thing Erica Hateley , 2017 single work criticism
— Appears in: More Words about Pictures Current Research on Picturebooks and Visual/Verbal Texts for Young People 2017; (p. 44-62)

'Shaun Tan is an eminent figure of Australian children's literature in the twenty-first century. Tan's international success has been marked commercially by the proliferation of international editions and translations of his picture books and critically by the proliferation of awards, including an Academy Award for the animated short film adaptation of The Lost Thing, and in 2011 the Astrid Lindgren Memorial Award, which is given for sustained aesthetic and humanist achievement in children's literature. In 1959, a figurative expressionist group calling themselves The Antipodeans held an exhibition in Melbourne, the catalogue for which saw the first publication of "The Antipodean Manifesto". This section of the Manifesto was contributed by John Brack, and Brack's identity as a figurative expressionist and as an artist of adaptation mark his work in particular as significant for a full understanding of The Lost Thing.'

1 Judging Books by Their Covers : Australian Children’s Classics in the Twenty-First Century Erica Hateley , 2016 single work criticism
— Appears in: Bookbird , vol. 54 no. 3 2016; (p. 28-35)
'Four different publishers have produced series of “classic” Australian children’s novels since 2001. Such series are part of a wider global interest in the history and canon of children’s literature, and offer a particularly national sense of literary history and identity. The classics republished by the four series have all enjoyed some degree of popularity, critical acclaim, or pedagogical use. When book awards, literary historians, critics, and publishers all seem to agree on a canon of Australian children’s literature, it is important to question whether the chosen books are inherently great or if the canon is serving a purpose beyond the literary. This paper reads the selections of classics publishers as a collective and cumulative story of childhood in order to question the persistence of particular visions of Australian culture and identity. Republished classics offer insight into canon-formation and the construction of literary history as well as perpetuating particular definitions of a national culture. ...'
1 Visions and Values : The Children’s Book Council of Australia’s Prizing of Picture Books in the Twenty-First Century Erica Hateley , 2016 single work criticism
— Appears in: Canon Constitution and Canon Change in Children's Literature 2016; (p. 205-221)

'The Children’s Book Council of Australia (CBCA) administers the oldest national prize for children’s literature in Australia. Each year, the CBCA confers “Book of the Year” awards to literature for young people in five categories: Older Readers, Younger Readers, Early Childhood, Picture Books and Information Books. In recent years the Picture Book category has emerged as a highly visible space within which the CBCA can contest discourses of cultural marginalization which construct Australian (‘colonial’) literature as inferior or adjunct to the major Anglophone literary traditions, and children’s literature as lesser than its adult counterpart. The CBCA has moved from asserting its authority by withholding judgment in the award’s early years towards asserting expertise via overtly politicized selections in the twenty-first century. Reading across the CBCA’s selections of picture books allows for insights into wider trends in Australian children’s literature and culture, and suggests a conscious engagement with social as well as literary values on the part of the CBCA in the twenty-first century.'

1 Productive Anxieties : Lostness in The Arrival and Requiem for a Beast Erica Hateley , 2015 single work criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 23 no. 1 2015; (p. 73-86)

"The trope of lostness [...] animates complex critical considerations of culture and subjectivity as in Shaun Tan’s The Arrival (2006) and Matt Ottley’s Requiem for a Beast: A Work for Image, Word and Music (2007), where the experience of lostness shapes the protagonists’ journeys, and is understood (like the books themselves) as applicable to children and adults." (Source: introduction)

1 Touching Texts : Adaptations of Australian Picture Books for Tablets Erica Hateley , 2014 single work criticism
— Appears in: Picture Books and Beyond 2014; (p. 108-122)

This chapter explores adaptations of three recent Australian picture books for tablet technology, attending to the effects of interactivity and digital affordances on narrative coherence and meaning. In this chapter, Hateley examines three e-texts which seek to adapt the experience of a printed picture book to a digital environment but which do so with varying levels of exploitation of digital affordances. Reading e-book and app versions of recent picture books highlights the opportunities and constraints offered by such texts in contemporary reading cultures: inside the classroom and beyond.

1 Paranoid Prizing : Mapping Australia’s Eve Pownall Award for Information Books, 2001–2010 Erica Hateley , 2013 single work criticism
— Appears in: Bookbird , January vol. 51 no. 1 2013; (p. 41-50)
'Each year, the Children's Book Council of Australia (CBCA) administers a number of Book of the Year Awards, including the Eve Pownall Award for Information Books. The books chosen by the CBCA constitute a contemporary canon of Australian children's literature, and serve to both shape and reflect current educational policies and practices as well as young Australians' sense of themselves and their nation. This paper reads a selection of award-winning Australian non-fiction children's literature in the context of colonialism, curriculum, military myths, and Aboriginal perspectives on national history and identity.'
1 And the Winner Is ? : Thinking about Australian Book Awards in the Library Erica Hateley , 2012 single work criticism essay
— Appears in: The Australian Library Journal , August vol. 61 no. 3 2012; (p. 189-199)
'Among their many duties, librarians occupy and must negotiate a space between the dreamed-of library and the all-too-real culture industries. This is perhaps most visible in the competition between pragmatism and idealism in text selection and collection development, and in one commonly used tool thereof: the book award. So, to begin my discussion, I am drawing on notorious examples of each. ...'
1 Shakespeare Is Child's Play! : Picture Books As Theatre In Primary Classrooms Erica Hateley , 2011 single work criticism
— Appears in: Practically Primary , June vol. 16 no. 2 2011; (p. 36-41)
1 De-Colonising Shakespeare? Agency and (Masculine) Authority in Gregory Rogers's The Boy, the Bear, the Baron, the Bard Erica Hateley , 2009 single work criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 19 no. 1 2009; (p. 59-68)
'Although Said is writing about literal geographies here as well as cultural mappings of them, I open with his claims in order to initiate my consideration of the ways in which 'Shakespeare' as a discourse (Freedman 1989, p.245) and Shakespeare's historical and geographical contexts have been made over into culturally-contested terrain within contemporary children's literature for the purposes of constructing and controlling social space and subjectivities.
Historically, both the discourse of 'Shakespeare' and the depiction of William Shakespeare as a character have been deployed as structuring logics for narratives about the inherent value of Shakespeare, and in turn, for discussions of not just the legitimacy but the necessity of young people's subordination of self to Shakespeare. Gregory Rogers's The Boy, The Bear, The Baron, The Bard (2004) not only participates in that tradition of children's literature which deploys Shakespeare as a colonising discourse but also disrupts the norms of the tradition in two important ways' (Author's abstract).
1 'Everything's Turning to White' : Palimpsestuous Revelations Make in the Journey from Jindabyne to Jindabyne Erica Hateley , 2009 single work criticism
— Appears in: Antipodes , December vol. 23 no. 2 2009; (p. 141-146)
'In this paper I am reading Jindabyne as a significant place and its sustained filmic representation in Ray Lawrence's Jindabyne (2006) in order to consider how we might begin to understand Australianness as a kind of haunted subjectivity but as\lso as one that might be reframed within or by a politics of becoming. Just as Thrift calls up a trope of water on land in his 'reservoir of meanings,' so too does Lawrence's film consider the symbolic meanings and resultse that come of Australian water on/and Australian land.' (p. 141)
1 y separately published work icon Shakespeare in Children's Literature : Gender and Cultural Capital Erica Hateley , New York (City) : Routledge , 2009 13815357 2009 single work criticism

'Shakespeare in Children's Literature looks at the genre of Shakespeare-for-children, considering both adaptations of his plays and children's novels in which he appears as a character. Drawing on feminist theory and sociology, Hateley demonstrates how Shakespeare for children utilises the ongoing cultural capital of "Shakespeare," and the pedagogical aspects of children's literature, to perpetuate anachronistic forms of identity and authority.' (Source: Publisher's blurb)

1 Shakespeare as a National Discourse in Contemporary Children's Literature Erica Hateley , 2003 single work criticism
— Appears in: Papers : Explorations into Children's Literature , April vol. 13 no. 1 2003; (p. 11-24)
Erica Hately examines the post-colonial relationships between Australia, the United States and England as represented in Penny Pollard's Passport and Susan Cooper's King of Shadows. She examines the use of Shakespeare as an emblem of English culture in these works.
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