Moomins Take the Floor. Finnish Trolls in Contemporary Mass Social (Media) Events.

IF 0.7 4区 文学 0 LITERATURE
Hanna Dymel-Trzebiatowska
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引用次数: 0

Abstract

Tove Jansson (1914-2001) was an outstandingly talented Finnish-Swedish artist, recognized worldwide mostly as the creator of the Moomins. Although the last of the nine-volume series (1945-1970) about the internationally popular Finnish trolls, Moominvalley in November, was published over fifty years ago, the Moomins' and Jansson's popularity is still rising, which testifies to the universality and timelessness of the books as well as the thoughtful marketing strategies of Moomin Characters Ltd, the company responsible for copyright supervision. In this article I discuss the Moomin characters' representation in three events set in contemporary (2017-2021), extratextual societal contexts, both strategically planned and co-organized by Moomin Characters Ltd and spontaneously organized by ordinary people. The motifs and figures from Moominvalley which have been applied in (1) the Invisible Child campaign, (2) the #OURSEA campaign, and/ (3) the women's strike protests in Poland are exemplified and juxtaposed with their literary images in the nine Moomin books by Jansson. My conclusion is that the references are based on a selective reading and focus on beneficial-in specific contexts-facets. On the one hand, it proves the Moomin books' versatility and topicality, while on the other, it is not inclusive and disregards the holistic message of the saga, which is an evolving continuum. Furthermore, this way of reading reinforces a single address of the unequivocally double-addressed series.

Moomins Take the Floor.当代大众社交(媒体)事件中的芬兰巨怪。
托夫-扬松(Tove Jansson,1914-2001 年)是一位才华横溢的芬兰-瑞典艺术家,全世界公认的《姆明一家》的创作者。虽然关于这只风靡全球的芬兰巨怪的九卷系列(1945-1970 年)中的最后一卷《十一月的姆明山谷》已出版五十多年,但姆明一家和杨松的知名度仍在不断上升,这证明了这些图书的普遍性和永恒性,以及负责版权监督的姆明人物有限公司周到的营销策略。在本文中,我将讨论姆明卡通人物在三个活动中的表现形式,这三个活动的背景都是当代(2017-2021 年)的文本外社会背景,既有姆明卡通人物有限公司的战略规划和共同组织,也有普通人的自发组织。在(1)"看不见的孩子 "运动、(2)#ORSEA 运动和/或(3)波兰妇女罢工抗议中使用的姆明山谷中的图案和人物形象,与它们在杨松的九本《姆明》中的文学形象进行了例证和并置。我的结论是,这些参考文献是基于选择性阅读,侧重于特定背景下有益的方面。一方面,这证明了姆明系列图书的多样性和主题性;另一方面,这种方法缺乏包容性,忽略了传奇故事的整体信息,即不断发展的连续性。此外,这种阅读方式强化了《姆明》系列明确的双重地址中的单一地址。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.40
自引率
25.00%
发文量
38
期刊介绍: Children''s Literature in Education has been a key source of articles on all aspects of children''s literature for more than 50 years, featuring important interviews with writers and artists. It covers classic and contemporary material, the highbrow and the popular, and ranges across works for very young children through to young adults. It features analysis of fiction, poetry, drama and non-fictional material, plus studies in other media such as film, TV, computer games, online works; visual narratives from picture books and comics to graphic novels; textual analysis and interpretation from differing theoretical perspectives; historical approaches to the area; reader-response work with children; ideas for teaching children''s literature; adaptation, translation and publishing. CLE is a peer-reviewed journal covering children''s literature worldwide, suitable for professionals in the field (academics, librarians, teachers) and any other interested adults. - Features stimulating articles and interviews on noted children''s authors - Presents incisive critiques of classic and contemporary writing for young readers - Contains articles on fiction, non-fiction, poetry, picture books and multimedia texts - Describes and assesses developments in literary pedagogy - Welcomes ideas for ‘special issues’ on particular themes or critical approaches
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