Pooh Corner Research Articles

Translation shift and the equivalence in children’s novel “The House at Pooh Corner”

Translating literary works such as novels, poetry, short stories, and dramas is widely conducted in Indonesia to introduce literature to the Indonesian people. In translating literary works, the transfer of messages from the source language must be appropriate and flexible in the target language because literary works have their aesthetic function, so translators need to have a broad knowledge of the qualified sociocultural background. Translators do not only translate meaning but also translate the values of literary works such as moral value and cultural value. The role of translators is to find out the equivalence in the target language and use their creativity to solve the non-equivalence in the target text. Equivalence is the main concept to achieve translation quality. This study aims to find the type of translation shift that occurred in the translated version of the children’s book entitled ‘The House at Pooh Corner’ based on Catford theory and to analyse the equivalence of translation according to Popovic. This research is qualitative research which applies content analysis. The data was collected through documentation. It is found that there are level shifts and category shifts in the translated version of The House at Pooh Corner. In addition, the types of equivalence found in this research are paradigmatic equivalence, stylistic equivalence, and textual equivalence. This research is expected to be used as the material for students to understand more about shifts and equivalence in literary translation

Brain of Pooh: Winnie-the-Pooh and Non-Epistemic Wisdom

The present article studies A.A. Milne’s Winnie-the-Pooh and The House at Pooh Corner as adult intended books. Childhood has traditionally been perceived as a state we grow away from, however, these stories criticize this process under an epistemic debate. Milne has developed a fantasy that functions as a response to the inadequacies of the external world. The construction of knowledge and the stability of language are explored under the philosophies of Martin Heidegger ‘s Being on Time and Ludwig Wittgenstein’s On Certainty. Milne uses a ‘Bear of Very Little Brain’ to defend the position of the child, and motivate the reader into considering the losses of growing up in terms of the limitations this has on our understanding of the world.

Finding Home for Winnie-the-Pooh and Other Bears

Abstract: This article shows how A. A. Milne's Winnie-the-Pooh (1926) and The House at Pooh Corner (1928) concern the "real" animal, specifically bears at the zoo. The article follows the buried figure of the bear at the zoo—as a shadow twin of the comfortable and comforting figure of the "Pooh" bear—in the texts surrounding Milne's Pooh stories proper (i.e., stories that take place in the Hundred Acre Wood). In the main text of the Pooh stories, readers—and Christopher Robin—are promptly asked to put the thought of these real bears aside in favor of the pleasure of entering the Hundred Acre Wood with a fictional bear. Two recent picture-book sequels to Pooh stories turn attention back to the problematic figure of the original bear at the zoo, revealing shared cultural anxieties concerning the zoos and those surrounding the unanswerable question of "homing" animals in the Anthropocene.

The fluid mechanics of poohsticks.

The year 2019 marked the bicentenary of George Gabriel Stokes, who in 1851 described the drag-Stokes drag-on a body moving immersed in a fluid, and 2020 is the centenary of Christopher Robin Milne, for whom the game of poohsticks was invented; his father A. A. Milne's The House at Pooh Corner, in which it was first described in print, appeared in 1928. So this is an apt moment to review the state of the art of the fluid mechanics of a solid body in a complex fluid flow, and one floating at the interface between two fluids in motion. Poohsticks pertains to the latter category, when the two fluids are water and air. This article is part of the theme issue 'Stokes at 200 (part 2)'.

Winnie-the-Pooh jako obcy polskiej literatury

A.A. Milne is known primarily as an author of four books for children – two volumes of poetry, When We Were Very Young (1924) and Now We Are Six (1927), and also two collections of stories, Winnie-the-Pooh (1926) and The House at Pooh Corner (1928). These books have been extremely successful all over the world, but in Poland the most popular have been the collections of stories about the adventures of the teddy bear and his friends. The translations by Irena Tuwim – Kubuś Puchatek and Chatka Puchatka (both 1938) – have become beloved books for many readers. Shortly after the Second World War and in the next decades the words spoken by Miś o Malym Rozumku [the Bear of a Very Little Brain] and by other animals from the Forest came into use in Polish. Irena Tuwim’s transalation very fast became canonical, but at the same time Winnie-the-Pooh became unknown. This article is devoted to the Polish reception of A.A. Milne’s work for children. It examines why Kubuś Puchatek became so popular in the post-war years, but also how this success have influenced the reception of subsequent translations.

«ПАМЯТЬ ЖАНРА» И ЕГО МЕТАМОРФОЗЫ В АВТОРСКОЙ СКАЗКЕ A.А. МИЛНА

“GENRE MEMORY” AND ITS METAMORPHOSISIN A LITERARY TALE BY A.A. MILNEThe nucleus of Milne’s literary tale dilogy (Winnie-the-Pooh and The House at the Pooh Corner) is an archaic folklore-mythological spatio-temporal structure and its specific subject realization that have proved capable of development, metamorphosis, synthesis with other deep structures and have led to the formation of literary genresof a neo-mythological character – literary tale, story and fantasy.In Milne’s tales there is no traditional struggle between Good and Evil, there are practically no “miraculous” objects and magical powers. The action is not based on the confrontation between the two sides, representing different moral principles (as ina traditional fairy tale), but involves the transition of the hero, Christopher Robin, from the world of childhood to the adult world, acquiring a higher social status,the development of abilities and skills of various characters to solve different life problems, first at the level of choice of options from the accumulated empirical experience, and then at the level of abstraction from real specifics to the skills of logical analysis and mastering written speech and the basics of mathematics. This results in the acquisition of a new level of knowledge and the development of a new way of understandingof the world (the creation of the cosmos from chaos).

Frozen Rivers, Moving Homes, and Crossing Bridges: Liminal Space and Time in Neil Gaiman’s Odd and the Frost Giants and A. A. Milne’s The House at Pooh Corner

Through a comparison of the liminal spaces and time in The House at Pooh Corner and Odd and the Frost Giants, this article examines how the notions of the idyllic child are undercut through the use of liminality. The liminality created through time and space in these texts challenges the typical home-away-home structure that imposes adult normativities on the implied child reader. These fictions thus allow the implied child reader to discover a more nuanced understanding of childhood (beyond the idyll) and see the complications in the transition from childhood to adulthood in the liminal spaces that the reversing of mythic and linear time creates.

Levinas and Twentieth-Century Literature: Ethics and the Reconstitution of Subjectivity

Levinas and Twentieth-Century Literature: Ethics and the Reconstitution of Subjectivity

The Survival of a Woman: A Feminist Approach to Winnie-the-Pooh and The House at Pooh Corner

The Pooh stories in Winnie-the-Pooh and The House at Pooh Corner by A. A. Milne try to create a “friendly-for-all” climate in the paradise-like forest. While the male residents enjoy the adventures, explorations and games, Kanga, the only female character in the forest, is excluded and marginalized. This paper examines how Kanga, struggling against the pervasive patriarchal power, survives and eventually wins a place in the male dominated community.

The Mindful Physician and Pooh

Resident physicians are particularly susceptible to burnout due to the stresses of residency training. They also experience the added pressures of multitasking because of the increased use of computers and mobile devices while delivering patient care. Our Family Medicine residency program addresses these problems by teaching residents about the mindful practice of medicine. We utilize A. A. Milne’s classic children’s books, Winnie-the-Pooh and The House at Pooh Corner, along with Benjamin Hoff’s The Tao of Pooh to explain Dr. Ron Epstein’s four habits of mindfulness: attentive observation, critical curiosity, beginner’s mind, and presence. We also use video clips from two Disney movies, The Many Adventures of Winnie-the-Pooh and A Day for Eeyore as well as Kenny Loggins’ song, House at Pooh Corner. With Winnie-the-Pooh’s help, residents learn how to become more mindful physicians by incorporating Epstein’s four habits of mindfulness into their daily practice.

Reading from the Feet Up: The Local Work of Literacy

Children learn to read at approximately the same stage in life as they start to master their physical environment. This article argues that some of the same mapping and schema-building strategies inform each activity, and draws on examples from a broad range of children’s books to support the idea that reading fiction and mapping one’s local surroundings work in tandem among many young children. Fictional examples include Ramona the Brave, The Moffats, and The House at Pooh Corner. As children grow, and their understanding of their own world increases, their relationship with fiction may become more complex; this proposal is discussed in relation to the works of Carolyn Keene and Enid Blyton.

Plant physiological ecology, 2nd edn

Plant ecophysiology is the science that seeks to explain the physiological mechanisms underlying ecological observations. Much is made these days of the value of interdisciplinarity but, as the authors point out, ecophysiology is interdisciplinary by definition, since success requires an appreciation of the important ecological questions, and of the biophysical, biochemical and molecular processes needed to understand them. Clearly therefore, one measure of the success of a book like this is how far it helps us to answer some current ecological questions. For example, the long-running controversy about mechanisms of competition. Here I have to say the authors make one of their rare mistakes (even if it is only a semantic one), since they are happy to attribute the success of one species relative to another to ‘competition’, irrespective of the circumstances. It has always seemed to me that if a plant excludes a competitor by tolerating stresses that kill or debilitate the competitor, calling that process ‘competition’ removes most of the term's usefulness. However, once we get onto actual mechanisms, all is clear. The authors quote (without comment) the results of Wedin and Tilman (1990) and Tilman and Wedin (1991), but then note dryly that ‘the uptake kinetics of species from infertile soils are unlikely to result in low soil nutrient concentrations’. In other words, R* doesn't – indeed can't – work. In a fine chapter on the ecophysiology of ecosystem processes, we learn that the controls on ecosystem productivity include temperature, rainfall, soil nutrients, parent rocks, drainage, topography, fire, successional age, grazing, symbionts, canopy structure and albedo, and plant traits including palatability, leaf area index, litter quality and root exudates. I've probably missed a few as well, but nowhere is much (in fact any) space wasted on the effects of biodiversity. If local biodiversity has any effect on productivity, it can only be measured in circumstances where the controls on productivity in the real world have been carefully eliminated. The authors don't always get it right. For example, they are too ready to accept the role of allelopathy in the success of the invasive Centaurea maculosa, despite studies that cast serious doubt on this phenomenon (Qin et al., 2007). Generally, however, wherever you look in this book, important topics are examined with thoroughness and clarity. You will not find a better account of how nutrient uptake strategies vary with soil nutrient status, and why even mycorrhizas are not enough when the going gets really tough. Mycorrhizas are remarkably effective at scavenging P, but even they are of little use when there's virtually no P to scavenge; here only cluster roots (which can ‘mine’ P) are equal to the task. The authors are also good at drawing attention to important areas where little is known, but where we can expect to discover much more in the future. We are left in little doubt that in a third edition the section on endosymbionts will be much longer, and no doubt contain some quite unforeseen surprises. And who could dislike a book that quotes Eeyore from The House at Pooh Corner? Two minor complaints. One is that the index does not contain any plants or animals, which is annoying if you're looking for information on Plantago or Casuarina. I've also seen some odd printing errors over the years, but new to me is an index (in my copy) that has completely lost the letter R, so if you want to know about respiration, roots or rubisco, you're on your own. Typos are few, but there is a persistent tendency to spell Arrhenatherum as Arrhenaterum, and I guess an over-enthusiastic spellchecker decided to call Briza media ‘quacking grass’. Minor quibbles apart, however, this is a very fine book indeed, and one that should be read by all plant ecologists, not just those who call themselves ecophysiologists.

Postmodern Pooh (review)

Reviewed by: Postmodern Pooh Paula T. Connolly (bio) Postmodern Pooh. By Frederick Crews. New York: North Point, 2001 In 1963, while an assistant professor at UC-Berkeley, Frederick Crews wrote what he called a "freshman casebook," offering different critical readings of children's books. The books were Winnie-the-Pooh and The House at Pooh Corner. The critical readings, ranging from Marxist to Freudian, were proffered by twelve fictional critics whose names often hinted at their perspectives. And the freshman casebook, of course, was The Pooh Perplex. There, among others, the fictional Simon Lacerous asserts that "everything Milne wrote . . . is a vast betrayal of life" (104); C.J.L. Culpepper, D. Litt., Oxon. reads the chapter "Eeyore Has a Birthday" as "a charming parallel to the coming of the Magi" (59); and Myron Masterson in "Poisoned Paradise: The Underside of Pooh" does things with Roo and Tigger you don't want to tell your children about. Through misreadings and overreadings, foibles in logic and insularity of viewpoint, The Pooh Perplex satirizes both literary theory and academia. It was pointed, funny, and a best-seller—yet its effect on children's literature was not as propitious. As real-life critic Alison Lurie has pointed out, "writing about the Pooh books . . . has been awkward (if not impossible) since . . . The Pooh Perplex . . . . [Crews] was not able to laugh into silence any of the dozen varieties of current literary criticism he so brilliantly parodied; but he did manage to stifle almost all critical comment on Winnie-the-Pooh for a decade" (11).1 In the end, Winnie-the-Pooh has survived Crews (although Pooh and his friends are currently embroiled in identity battles with their Disney counterparts). Nearly forty years since that first book, Frederick Crews—now professor emeritus at UC-Berkeley—has created a new batch of pseudo-scholars to offer an "updated Perplex": Postmodern Pooh. Here, Crews has moved on to more current critical theories. Yet despite new paradigms of thought, we learn that some things in academia remain ever the same. Postmodern Pooh contains much of the same type of wordplay as the first book, particularly in names such as academic Victor S. Fassell, Indian scholar of Postcolonial Studies Das Nuffa Dat, and the conservative Dudley Cravat III. Satirizing the current ubiquitous use of subtitles, Crews treats readers to a litany of playful titles, such as "(P)ooh La La! Kiddie Lit Gets the Jacques of Its Life." Updated to include female critics, Postmodern Pooh shows how texts are quickly appropriated as fodder for ideological agendas and overweening egos. In Das Nuffa Dat's hands, Pooh becomes an agent of the East India Company and complicit in racist oppression, for, as Nuffa Dat explains, since Pooh covers himself in mud to trick the bees, "we can infer that the bees themselves are black" (91). To Orpheus Bruno, Pooh is variously defined as Lear, then as Falstaff to Christopher Robin's Prince Hal—though the critic soon metamorphosizes Christopher Robin into a Christ figure. To Renee Francis, the books are embedded with math problems, and she provides a graph which will help her audience factor "total distance plummeted and total time of transit from highest branch to touchdown at gorse bush" (101). Dolores Malatesta offers a reading (partly induced by long years of therapy) in which she finds signs of sexual abuse in Piglet's continued fears of Heffalumps, charging that it is "conceivable that jMilne] wasn't just an abuser but a satanic ritual abuser" (129). From gynocriticism to meme studies, psychoanalysis to postcolonialism, Crews repeatedly quotes "real" critics and then juxtaposes his fictional ones in a responsive interplay that satirizes critical excess, insularity, and labyrinthine rhetoric. At the core is a scathing critique of academic egotism. The difference in fictional form between The Pooh Perplex and Postmodern Pooh only [End Page 108] serves to heighten this. While the earlier book was presented as a collection of essays, the occasion of the second book is a fictional MLA session entitled, of course, "Postmodern Pooh." Here, literary theory becomes a weapon as Crews' critics, all assembled on the same stage, enact an inane and sometimes vicious competition, each vying for perceived intellectual...

Mock-Epic as a Byproduct of the Norm of Elevated Language

Abstract Beginning in the late nineteenth century, Hebrew underwent a process of revival. Despite the growing stratification of the language, literary translations into Hebrew were governed by a norm which dictated the use of an elevated style rooted in ancient Hebrew texts. This norm persisted at least until the 1960s. Motivated by the Hebrew tradition of employing the elevated style to produce the mock-epic, translators created mock-epic works independently of the source texts. This article describes the creation of the mock-epic in canonized and non canonized adult and children's literature, focusing on the Hebrew versions of Henry Fielding's Joseph Andrews, Damon Runyon's Guys and Dolls, Peter O'Donnell's Modesty Blaise and A.A. Milne's Winnie-the-Pooh and The House at Pooh Corner.

Language, Translation and the Promotion of National Identity

Abstract This article examines two test cases involving the translation of works of literature into minority languages: the translation into contemporary Scots of Les belles-soeurs by Québec playwright Michel Tremblay and the translation into Romansch of The House at Pooh Corner by British children's author A. A. Milne. In both cases, translation is perceived as a means of exercising the language, developing its resources and thus ensuring its survival. In strengthening the minority language and culture, translation is seen as a way of promoting national identity.

Winnie-the-Pooh and The house at Pooh corner: recovering Arcadia

Winnie-the-Pooh and The house at Pooh corner: recovering Arcadia

GENDER SCHEMA AND READING

ABSTRACT The author's quirky reading of Winnie the Pooh and The House at Pooh Corner is investigated in terms of reader response and gender schema theory. The connections between these two theories are exemplified. Researchers attest to the pervasiveness of the gender schema, and the effects of gender schema on memory are presented in summaries of empirical studies with subjects from four age groups (kindergartners, fifth graders, high school students, and college students). These studies suggest that people use stereotypes and gender‐based identification in encoding, retrieving, and making inferences from information. Qualitative research on differences in male and female responses to literary texts tentatively concludes that males are more likely to attend to the author “behind” a narrative, while females enter the experiential world of the narrative, in which the author is transparent. Also, men respond to disturbing narratives through several dominating and rejecting strategies rarely used by females,...

Classroom Research in Second Language Acquisition

In a sad final chapter of A House at Pooh Corner, Christopher Robin has to desert his friends of the Hundred Aker Wood in order to go to school. The mysterious world of the classroom is just barely alluded to as a vaguely ominous place where it is not possible to do Nothing, the favorite activity of all healthy inhabitants of the wood.

An analysis of anesthesia medical liability claims in the United Kingdom, 1977-1982.

They're funny things—accidents—you never have them until you are having them. A. A. Milne, House at Pooh Corner

Reassuring Readers: Winnie-the-Pooh

Reassuring Readers:Winnie-the-Pooh Stephen Canham Click for larger view View full resolution Illustrations from Winnie-the Pooh and The House at Pooh Corner, copyright 1926 & 1928, E.P. Dutton; copyright renewal 1954 & 1956, A.A. Milne. Used by permission. The world of Winnie-the-Pooh is an "unself-conscious" world, one which is complete in and of itself, a world of the imagination, of play and distress, a world which is very much a child's world. Reassurance is one of the key values of this world, one of the central, operating principles of the fiction. It is reassuring, it is consoling. Inside its simplicity is an impulse to reassure the reader (not just the child), to tell us despite the apparent confusion and chaos of the world for those of us with very little brain, there is beauty, order, and harmony. That all of life's crises, from diluvian disasters to friendlessness, can and will turn out right. This is reassuring, no doubt about it; some would call it sentimental, even downright false, but this is the Hundred Acre Wood, not Los Angeles. [End Page 1] This impulse to reassure is also fundamentally comic, in that profound aspect of comedy which recognizes creative, constructive patterns beneath the often baffling surface of events and actions. It is upon this comic impulse that the individual episodes and larger movement of the book depend. Take the Woozle hunt, for instance; it is funny to watch the artless bumbling of Pooh and Piglet, and those of us who have spent our nights out snipe hunting, flashlight and gunnysack in hand, can chuckle (with chagrin or smugness) at the errant hunters. But the child and "young" adult may not laugh, for this is, after all, an adventure, one that seems to be going rather badly for the heroes. The calm surface of life in the Hundred Acre Wood has been disturbed—if it can be restored and the characters made to learn from their experience, then we have a comedy; if not, meaningless repetition, confusion, and even tragedy can result. Just as things look their blackest, Christopher Robin reveals himself (deus ex machina) perched in a tree, able to Sort It All Out and to greet Pooh with "Silly old bear," his affectionate, endearing phrase for the toy he has made come alive. Christopher Robin gently enlightens the misguided pair and, more importantly, soothes the addled Pooh —"You're the Best Bear in All the World." Pooh brightens and recalls that it is nearly Luncheon Time. It is a pattern repeated throughout the book: Pooh in or involved with Danger and Distress, Christopher Robin appearing to solve, rescue, and console. Christopher Robin possesses the ability to think clearly and act effectively in the world of the Hundred Acre Wood, to transform potential disaster to comic resolution. He is, in one sense, the analytical, intelligent aspect of the child, the complex, knowledgeable, confident side of us. But, and we must not forget this, he is not a symbol but a boy, a loving, kind, adventurous child. Pooh, himself, is much more than an engaging klutz, more than foil for Christopher Robin's efficiency, and it seems to me that it is in this "moreness" that both his enduring charm and his significance lie. We all note and respect Pooh's admirable childlike qualities, such as his openness, his honesty, his compassion; but I think he is even more fundamentally like a child than even these traits reveal. Pooh is a bear of very little brain, but of great feeling, and, even further, of great hunger. He is always involved with food, with obtaining, sampling, and protecting his precious honey (and it is precious to him, which makes his birthday gift to Eeyore, though slightly abortive, so endearing). It is almost always time for a little something, time to satisfy the unrelenting demands of the body. What child (or adult, for that matter) does not have to accommodate the needs of the spirit to the needs of the body? [End Page 25] And what better way to represent this demand than with a bear, one of those voracious, hulkingly beautiful creatures —"Old Eat-and...