![\"\"](\"https:\/\/world.edu\/wp-content\/uploads\/2022\/10\/Childrens-literature.jpg\")
<\/p>\n<\/p>\n
In his\u00a0Poetic Art<\/em><\/a>\u00a0,\u00a0Horace<\/a>\u00a0coined that maxim that said:\u00a0Prodesse et delectare<\/em>\u00a0, which has been commonly translated into Spanish as “teaching delighting”.\u00a0This Horatian idea, widely rooted, supports the idea that literature should be a source of knowledge and, in turn, of pleasure.<\/p>\n If children’s literature has a prodigious entity within general literature, with its own characteristics that differentiate it from other genres, then, how can we not make it the center of the curricular context of the infant and primary stages?<\/p>\n While general literature is not always read with a didactic purpose,\u00a0children<\/a>\u00a0‘s literature , from the beginning,\u00a0has been linked to the pedagogical<\/a>\u00a0and has still barely been separated.<\/p>\n But the educational potential of a book is not only in using a text in the classroom for pedagogical purposes.\u00a0It is, above all, that the child learns to resort to reading as a source of enjoyment.\u00a0In which to become a reader.\u00a0For this, it is essential that you feel the story close to your intelligence and cognitive level.<\/p>\n Many of the readings that have been imposed throughout history were not created specifically for children, and were difficult to analyze and understand.\u00a0They raised worlds alien to childhood.<\/span><\/p>\n This is the case, for example, with immersion at the wrong time, and in versions that were not for children, of classics or canonical authors.\u00a0However, in Madrid,\u00a0<\/span>Saturnino Calleja<\/span><\/a>\u00a0(the one with the saying “You have more stories than Calleja”) stood out as an editor with collections for children’s literature.\u00a0His selection of stories, such as the\u00a0<\/span>Cuentos de Calleja<\/span><\/em>\u00a0, adaptations of popular stories and classics, had an important impact on the educational sector at the time.\u00a0A\u00a0<\/span>pioneering advance<\/span><\/a>\u00a0in the genre of youth literature and school books, not only in terms of its innovative literary value, but also as a specialized publisher.<\/span><\/p>\n Other authors in Spain, consecrated and considered classic authors, wrote for children: Fern\u00e1n Caballero, Juan Valera, Clar\u00edn, P\u00e9rez Gald\u00f3s or Ram\u00f3n Llull.\u00a0The difficulty, when we see these texts today, lies in the fact that those themes and the way in which they are related \u2013sometimes with incomprehensible vocabulary\u2013 take the young reader away from their full understanding.<\/span><\/p>\n As an example, the story of\u00a0<\/span>The conjuration of words<\/span><\/em>\u00a0by Benito P\u00e9rez Gald\u00f3s,\u00a0<\/span>versioned, translated and adapted<\/span><\/a>\u00a0with activities by the Casa Museo P\u00e9rez Gald\u00f3s, but with not very encouraging motivational results according to the results of a forthcoming study entitled\u00a0<\/span>El Negative impact of canonical literature on children’s world: a historical cognitive estrangement<\/span><\/em>\u00a0.<\/span><\/p>\n The generation of the Republic or of 1927 (Benavente, Valle Incl\u00e1n, Alberti or Lorca) wrote poetry and theater aimed at children and young people.<\/span><\/p>\n In the 1930s, Elena Fort\u00fan (\u00a0<\/span>Celia and her brother Cuchufrit\u00edn<\/span><\/em>\u00a0, among others) and Antonio Robles (\u00a0<\/span>Eight tales of children and dolls<\/span><\/em>\u00a0and\u00a0<\/span>The puppet brothers<\/span><\/em>\u00a0) did it.<\/span><\/p>\n We are currently investigating the effect that this type of canonical literature has on children’s readers.\u00a0Despite being good literature, aimed at a young audience, it is too far removed from reality to meet the needs of “conversion to reading.”<\/span><\/p>\n Of these creations that are not in tune with the child’s mind, children’s literary production has gradually focused its focus on didactically exploiting that contact with the literary, and not so much on the playful-creative.<\/span><\/p>\n The most established classification of children’s literature is the one developed by Juan Cervera in his\u00a01989 book\u00a0<\/span>Theory of Children’s Literature :<\/span><\/em><\/a><\/p>\n From the point of view of responding to the needs of the child, the earned and created modalities fill children’s leisure time educationally \u2013 not school-wise, and their presence at school is beneficial.<\/span><\/p>\n Especially, when reading comprehension is promoted for a pre-dissertation work, pre-debate or games of semantic, lexical fields or towards writing workshop approaches.\u00a0Young readers will understand the power of literature through language as a communicative and creative tool.<\/span><\/p>\nAre the classics appropriate reading?<\/strong><\/h4>\n
Children’s literature in the 20th century<\/strong><\/h4>\n
Three approaches<\/strong><\/h4>\n
\n
Reading that allows you to grow<\/strong><\/h4>\n