Abstract
This graduating paper aims to examine whether or not John Boyne’s novel entitled The Boy in the Striped Pyjamas should be categorized as children’s literature. The story tells about a nine-year-old German boy named Bruno with his Jewish friend, Shmuel, who lives inside the concentration camp during the Holocaust. This graduating paper applies the genre approach since it is the most suitable approach to analyze the elements of children’s literature genre, which are character and characterization, didactic elements, the happy ending, and element of pictures in children’s literature. In order to support the analysis, library research was conducted alongside the novel itself as well as supporting articles from reliable websites. The result of the analysis shows that John Boyne’s The Boy in the Striped Pyjamas cannot be categorized as children’s literature as the characteristics of children’s literature suggested by Nodelman are not found in the novel. However, The Boy in the Striped Pyjamas can be categorized as high literature since the characteristics of high literature are primarily found in the novel.
Highlights
Children’s literature is one of the genres in popular culture and has been considered an instrument of moral teaching
There are a number of published literary works that can be categorized as children’s literature, such as The Cat in the Hat by Dr Seuss, Charlotte’s Web by E
The primary data source for this research was the novel entitled The Boy in the Striped Pyjamas written by John Boyne and published in 2006 by David Flicking Books
Summary
Children’s literature is one of the genres in popular culture and has been considered an instrument of moral teaching. There are a number of published literary works that can be categorized as children’s literature, such as The Cat in the Hat by Dr Seuss, Charlotte’s Web by E. Oberstein (2002) argues that children’s literature is a category of books that depends on supposed relationships with a particular reading audience: children. The definition of ‘children’s literature’ is underpinned by a purpose: it wants to be something in particular because this is supposed to connect it with that reading audience— ‘children’—with which it declares itself to be overtly and purposefully concerned. Oberstein (2002) explains that children are the center and author's purpose from children’s literature. It should be connected with the essential life of children as the primary concern of the work
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