Master midterm (Seth Lerer intro to 4)

   Docere et delectare : to teach and to entertain (11)   Knowledge of letters is the key that unlocks the meaning of books. (Bishop AElfic, 62)   To be a child is to fond of reading;: to be the man in small letter, whose book and heart shall never part. (103, Benjamin Franklin’s  Autobiography ) I.   Matches (20%)    Emile   Jean-Jacques Rousseau   The Little Prince   Antoine de Saint-Exupery   The Governess, the Little Female Academy   Sarah Fielding    Robinson Crusoe   Daniel Defoe   Confessions   St. Augustine    Aeneid    Virgil (Vergil)    Anne of Green Gables   L. M. Montgomery    Harry Potter    J. K. Rowling   Goodnight Moon   Margaret Wise Brown    Little Women   Louisa May Alcott    A Midsummer Night’s Dream   William Shakespeare   The Lord of the Rings   J. R. R. Tolienk     Alice’s Adventures in Wonderland    C S. Lewis    Ivanhoe   Sir Walter Scott   The Last of the Mohicans   James Fenimore Cooper     Morte d’ Arthu r    Sir Thomas Malory    Pilgrim’s Progress   John Bunyan   The Republic   Plato    David Copperfield    Charles Dickens    Prioress’s Tale   Geoffrey Chaucer    The Adventures of Huckleberry Finn   Mark Twain  II.   Term explanation (40%)  1.   John Newbery  2.   Aesop  3.   John Locke  4.   Dr. Seuss  5.   John Newbery  6.   Scrooge  7.   Philologist  8.   Anglophone    9.   Puritanism  10.   Hans Christian Andersen  11.   Homer   12.   Hercules  13.   Marcellus  14.   Hermeneumata 15.   Colloquy  16.   Aesopica  17.   Vernacular   18.   Metamorphoses  19.   The Moral (39, 46, 53, 57), beyspel, exempel  20.   William Caxton  21.   Primer (The  Primer  )  22.   Robin Hood  23.   Cotton Mather   24.   Ten Commandments   Genre: fables, adventures, romances, allegory, morality play, mystery play, miracle  play, lullabies, folk rhymes, elegy  III.   Essay (40%)  1.   What is childhood (1, 2, 5)? What is children’s literature? (3, 4, 7, 10, 11 convention of interpretation and reception of texts)  2.   To look for children’s literature in classical antiquity is to look at the history of rhetoric and education. Performance, reading, writing, slavery—all are the contexts for an understanding of the children’s literature of classical antiquity. (17, 19, 21, 23, 34)  3.   The history of the fable is the history of translation (42, 46, 47, 51, 56). Translation is transmission while the most basic text would be the Aesopica. However, the history of Aesopica remains a paradox. Why?  4.   Children’s verse lives in the margins. These marginalia hold a brilliant mirror up to the adult world of martial prowess and political control. Discuss this concept according to Geoffrey Chaucer’s Treatise on the Astrolabe. (72, 73, 74, 80)  5.   Books, like Americans, are children. The commitment not just to reprinting, but to imitating and abridging, illustrating and adapting books for younger reader makes later writers children to the masters. Discuss this concept according to Puritan’s adaption application of  Pilgrim’s Progress  to their younger readers. (92-97, 103)