By Lauryn Silverhardt
Support Dora and her associates as they plan a shock social gathering for his or her good friend Isa the iguana!
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Extra resources for A Surprise Party (Dora the Explorer)
The Textual Signal Field of the Children’s Literary Message The core field of the literary message is the literary work, which is, as well as the numerous paratextual signal fields, a further signal field of the literary message, although for reasons of scale it is clearly much more important. Here only the second possible mode of realizing twofold literary communication can come into play: The two partial communications here use one and the same signal field. To read children’s literary works in general as a manifestation of twofold literary communication requires us to seek for not one but two implied readers in them.
For all publications aimed at children and young people we will reserve the term ‘children’s media’. The term is admittedly ambiguous, and therefore we must additionally point out that we do not mean the media that children and young people actually use, but rather those that are aimed at this target group. To make this difference absolutely clear we would distinguish between intended and actual children’s media. A further terminological ambiguity connected with children’s media is the fact that this can refer to both individual publications or individual media productions and also various publication and distribution media.
Another example of the former is Gustav < previous page page_35 next page > < previous page page_36 next page > Page 36 Schwab’s foreword to Friedrich Güll’s 1836 lyric anthology Kinderheimath (Children at Home). Let us now turn our attention to selected manifestations of the epitext. The authorial epitext includes, for example, the author’s (editor’s/reviser’s/translator’s) attitude to a particular publication as expressed in conversations or interviews, or in writing in articles, letters etc.
A Surprise Party (Dora the Explorer) by Lauryn Silverhardt