Conference on Soviet Illustrated Books for Young Readers Friday-Saturday May 1-2 at Princeton

Cotsen is delighted to help spread the word about an international conference about Soviet illustrated children’s books!

“The Pedagogy of Images: Depicting Communism for Children”

A Symposium at Princeton University, May 2015.

Friday May 1st, Bobst Hall Room 105,  9:00am – 6:00pm.

Saturday May 2nd, Chancellor Green Room 103, 10:00am – 7:00pm.

Keynote: Dmitry Bykov, “The Golden Key to Blind Beauty: Reading the Russian Revolution Through Soviet Children’s Literature”. Friday May 1st, Aaron Burr Hall 219, 6:30pm.

The symposium will convene an international and interdisciplinary group of 16 scholars who work on Soviet-era Russian illustrated books for young readers.

Socialism always had major pedagogical ambitions: building a new society was also about promoting new forms of social imaginary and a new vocabulary of images. Lenin’s plan of monumental propaganda is well known and well researched. This symposium’s project is collaborative scholarly investigation of a less monumental but no less important and pervasive visual language developed by the socialist state for its children. Specifically, the participants will examine the interplay of text and image in illustrated books for young Soviet readers.

As a part of the general desire to translate state socialism into idioms and images accessible to the illiterate, alternatively literate, and pre-literate, children’s books visualized ideological norms and goals in a way that guaranteed easy legibility and direct appeal, without sacrificing the political identity of the message.  Relying on a process of dual-media rendering, illustrated books presented the propagandistic content as a simple narrative or verse, while also casting it in images. A vehicle of ideology, an object of affection, and a product of labor, the illustrated book for the young Soviet reader became an important cultural phenomenon, despite its perceived simplicity and often minimalist techniques. Major Soviet artists and writers contributed to this genre, creating a unique assemblage of sophisticated visual formats for the propaedeutics of state socialism.

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In preparation for the symposium a selection of 47 books from the Cotsen Children’s Library underwent digital imaging, and the digital surrogates were mounted as a publicly accessible collection in the Princeton University Digital Library (“Soviet Era Books for Children and Youth 1918-1938”). The 47 books were selected from the Cotsen’s holdings of approximately 1,500 Soviet-era Russian imprints, almost 1,000 of which were published between the 1917 Revolution and the beginning of WWII. All of the selected imprints are very rare; a third of the editions included are held in only one other collection in North America, and more than a third are not held in any other North American collections.

Organizing Committee:

Thomas Keenan, Serguei Oushakine. Katherine Hill Reischl

To learn more about this momentous project (including the schedule of symposium speakers and the collaborative annotated catalogue) see the main site for The Pedagogy of Images.

(Just in case this is your first time visiting, here are the links for the interactive campus map and printable campus map).

		         До свидания!

  

 

Happy Halloween! Cotsen Launches a Curatorial Blog on Its 11th Anniversary Today…

The Cotsen Children’s Library opened to the public eleven years ago today. Because Halloween is such an important day for children, candymakers, and the fabricators of costumes, the 31st of October 2008 seemed a propitious time to launch the Cotsen blog.

In the spirit of the holiday, this first post might be considered a swag of seasonal eye candy celebrating those things that go bump in the Cotsen stacks.

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This first gathering of pictures was gleaned during the review of an interlibrary loan request and a truck of duplicate copies.   Almost any job at Cotsen is an opportunity to prowl for images. This week I went looking for scary creatures and was not disappointed.  “The Boy Who Became a Goblin” in Anna Wahlenberg’s Swedish Fairy Tales, tr. Axel Wahlenberg (Chicago: A. C. McClurg & Co., 1901) contains this charmer by Helen Maitland Armstrong (1869-1948), the stained glass artist, who was also the sister of the binding designer Margaret Armstrong.

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This alarming picture of the smuggler Bill Brines being transformed into an albatross appears on p. 130 and the cover of Coppertop Cruises: The Wonderful Voyage of the Good Ship “Queercraft” (Melbourne, Melbourne Publishing Co., [ca. 1920]). It is the work of the well-known Australasian fairy artist, Harold Gaze (1885-1962), who was a contemporary of Ida Rentoul Outhwaite. Gaze seems to have reined in his sense of the grotesque in the color plates, which are much more conventional and decorative in style, than the line art. To see some examples of his work in color, visit http://www.australianfairyartists.com/howard_gaze/index.html

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On Halloween night, witches are supposed to gather for revels with the devil and to create mayhem for the unsuspecting. But it is hardly a new trend to try and domesticate witches, as in this picture of a rather sedate tea-party hosted by Dame Durden by Sheila E. Braine in Happy Hearts: Stories in Verse and Prose for Boys and Girls (Chicago, Akron, New York: The Saalfield Publishing Company, c.1912). There is a smudgy signature in the right-hand corner of the image which I can’t make out.  The names of authors and illustrators in the volume are British—so I suspect an unauthorized reprint of an English children’s book.

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Ivan Bilibin’s magnificent color illustration of the Russian witch Baba Yaga in Vasilisa the Beautiful (St. Petersburg, 1902) must be one of the best known pictures of any crone in the annals of the folk or fairy tale. But I fell in love with this old hag the minute I spotted her on the left-hand corner of the plate for letter B in Elizaveta Merkur’evna Bem’s Azbuka (Paris: I. S. Lapin, 1913-1914). Bem died before completing the fourth and last fascicle of this splendid alphabet, which offers a fascinating contrast to the much better known one by Alexander Benois.

 

— Andrea Immel

 To be continued…