{"title":"»Hab ich jetzt nur geträumt oder ist das wirklich passiert?«","authors":"Christoph Gschwind","doi":"10.21248/gkjf-jb.52","DOIUrl":null,"url":null,"abstract":"Artikelbeginn:[English title and abstract below]\nTraumdarstellungen in Büchern und Filmen mit ›ambiguem‹ Ende sind in der Populärkultur seit den 1990er-Jahren beliebt. (Kuhn 2009, S. 141 f.) Man kann die Popularität solcher plot-Strukturen durchaus plausibel als Reaktion der Kunst auf die zunehmende Komplexität der Gesellschaft (Berndt / Koepnick 2018, S. 7) deuten. Diese Komplexitätssteigerung ergibt sich beispielsweise durch die Möglichkeiten digitaler Technologien, neben der wirklichen Welt auch virtuelle Welten, eine virtual, mixed oder augmented reality, zu kreieren, in denen sich die Grenze zwischen Realität und Fiktion verschiebt.\n \n»Did I Dream That or Did It Really Happen?«How Dream Images in Picturebooks Can Promote ›Ambiguity Skills‹\nAmbiguity is a key aesthetic and cultural cornerstone reflected in the multiple examples in literature, history and analysis that make the connection between the ambiguity of works of art and dream representations. This is particularly true in children's literature, in which children’s dreams are presented in pictures. This article focusses on picturebooks that question various interpretations of reality, whose ontology, in other words, is open to interpretation: Are the worlds represented through imagery fictionally true or imagined as a dream? It also aims to show that the ultimate openness of images to interpretation results from an indiscernible oscillation between ambiguation and disambiguation. The central hypothesis of the article states that these images have the potential to sensitise their audiences to ambiguity and thus promote its tolerance – even outside of literature. It posits that these images can support the development of ›ambiguity skills‹, understood here to refer to a child’s ability to handle perceived ambiguities productively, for instance by using them to examine basic anthropological questions, and is one means to prepare children for complex social ambiguities in real-life situations.","PeriodicalId":284994,"journal":{"name":"Jahrbuch der Gesellschaft für Kinder- und Jugendliteraturforschung","volume":"47 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Jahrbuch der Gesellschaft für Kinder- und Jugendliteraturforschung","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.21248/gkjf-jb.52","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Artikelbeginn:[English title and abstract below]
Traumdarstellungen in Büchern und Filmen mit ›ambiguem‹ Ende sind in der Populärkultur seit den 1990er-Jahren beliebt. (Kuhn 2009, S. 141 f.) Man kann die Popularität solcher plot-Strukturen durchaus plausibel als Reaktion der Kunst auf die zunehmende Komplexität der Gesellschaft (Berndt / Koepnick 2018, S. 7) deuten. Diese Komplexitätssteigerung ergibt sich beispielsweise durch die Möglichkeiten digitaler Technologien, neben der wirklichen Welt auch virtuelle Welten, eine virtual, mixed oder augmented reality, zu kreieren, in denen sich die Grenze zwischen Realität und Fiktion verschiebt.
»Did I Dream That or Did It Really Happen?«How Dream Images in Picturebooks Can Promote ›Ambiguity Skills‹
Ambiguity is a key aesthetic and cultural cornerstone reflected in the multiple examples in literature, history and analysis that make the connection between the ambiguity of works of art and dream representations. This is particularly true in children's literature, in which children’s dreams are presented in pictures. This article focusses on picturebooks that question various interpretations of reality, whose ontology, in other words, is open to interpretation: Are the worlds represented through imagery fictionally true or imagined as a dream? It also aims to show that the ultimate openness of images to interpretation results from an indiscernible oscillation between ambiguation and disambiguation. The central hypothesis of the article states that these images have the potential to sensitise their audiences to ambiguity and thus promote its tolerance – even outside of literature. It posits that these images can support the development of ›ambiguity skills‹, understood here to refer to a child’s ability to handle perceived ambiguities productively, for instance by using them to examine basic anthropological questions, and is one means to prepare children for complex social ambiguities in real-life situations.
Artikelbeginn:[英语title and abstract below] Traumdarstellungen书籍和电影里与›ambiguem‹结束是.自从20世纪90年代的流行文化中不受欢迎一直持续了141页很多人认为这种爆炸结构的流行是很可能的,因为艺术是回应社会越来越复杂的情况出现的。(比如,数字技术创造出了虚拟世界、虚拟、搅和和虚拟现实的可能性,并由此实现了实与虚幻之间的界限。»or引出来引出我梦想的大一口吗?《«梦幻Images在Picturebooks如何›Ambiguity技能‹Ambiguity is a key aesthetic及cornerstone出现在梦中的多重examples》literature,历史作出具体分析一下关系网between the Ambiguity沒of艺术与梦想》representations .这些是儿童的幻想盒中的关键另外一个充满机会解释:世界之反映是真实还是虚幻?既然是来表演人类终极幻想的原因是图谋和野心的不确定国家的中央假设是他们的假设有可能引起感情上的对立,可以传授他们可以继续扩张。It posits那种论文images可以支持的发展》›‹ambiguity技巧,懂什么东西吗to refer to a儿童是ability to是perceived ambiguities productively, for instance教科书他们赞助to examine买anthropological questions, and is one意思to prepare儿童for钢渣社交ambiguities在real-life situations .