1/11/2024 0 Comments Subvert definition for kids![]() ![]() One vital distinction, according to Malcolm, is that nonsense language “presents the form of meaning while denying us the substance” (1997, p. However, critics do make a clear distinction between “nonsense” and “gibberish” by noting that nonsense breaks rules of sense making, while gibberish utterly abandons any attempt at sense making (Malcolm, 1997 Rieke, 1992). As much as is possible in this ultimately impossible enterprise, it nullifies sense.” (Thomas, 1985, p.119). Thomas (1985) has claimed that very little of what is called nonsense makes no sense at all, and therefore cannot be strictly termed nonsense: “Pure nonsense rejects sense. Defining Nonsense in LiteratureĪ definition of what constitutes “nonsense” in literature has not been agreed upon by the critics. The readiness with which the word “nonsense” springs to our lips in response to political doublespeak or bureaucratic shenanigans is, therefore, in keeping with the original purpose of the genre. ![]() McGillis (2002) further reveals the mainstream credibility that nonsense had in the Victorian era for adults and children, when it was a legitimate means for poking fun at all sorts of pretensions. Malcolm (1997) traces the origins of English nonsense poetry to specific individuals and social sets from the inns and clubs of London in the 17th century. However, according to Malcolm (1997) and McGillis (2002), nonsense was not originally or exclusively a children’s genre. ![]() It is largely thanks to their influence that nonsense is now mostly considered a children’s genre, although one that continues to have a significant adult and critical/academic following. Both Carroll and Lear wrote in the middle – end of the nineteenth century, originally for specific children with whom they were friends and later, through publication, generally for children. By far the most well-known practitioners are Lewis Carroll ( Alice’s adventures in Wonderland (1865) Through the looking glass, and what Alice found there (1871)) and Edward Lear (hundreds of limericks and other poems, for example, “The Owl and the Pussycat”). Nonsense is a genre of writing, however, one that is associated with very few authors and texts. My focus is on how children play with the language they are learning. It is important to point out, however, that this is not a study about how children learn language. Finally, teachers’ responses to children’s spontaneous play with nonsense language are explored. This tradition is then linked to children’s humorous language play. I provide, first, a brief background to nonsense as a genre and a literary tradition. Ultimately, I wish to highlight both the sophistication of nonsense language play and the learning value it has for young children. In this article, I attempt to bring them together to demonstrate the strong links between them. However, these two playful language traditions, and two groups of language practitioners, have not been sufficiently considered in relation to each other. ![]() Young children’s interest in playing with the aesthetic properties and meaning potentials of language as they master it for everyday use, is also well recognised by parents, teachers, and even by Te Whāriki, the New Zealand Early Childhood Curriculum Framework (1996). Nonsense as a genre of writing is well established in the English literature tradition. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |