Manuel Giron
Literature, photography and Music
View Rights PortalGirassol Brasil has been in existence for 20 years. Despite still being a young company,it has attained prominence in the children’s book scene thanks to the quality and interactivity of its books. They offer educational books; children’s literature, especiallyfrom renowned Brazilian authors; tales and fables; world literary classics; gamesand puzzles; and several reference books. The catalogue is also filled with pop-uptitles, bath books, wipe and clean books, flap books and many different interactiveelements that provide a pleasant reading experience and make learning fun for youngchildren and early readers. A series we would like to recommend you especially is Heartwarming stories,written by educational psychologist Paula Furtado in order to help young children todeal with difficult situations and life circumstances.
View Rights PortalWhile growing up, girls are more likely than boys to receive contradictory expectations from different aspects of their lives: parents, teachers, peers, society, and themselves. They could be rebellious but at the same time remain "good girls". They could express anger against bullies at school while simultaneously meeting teachers' expectations of nonaggressive behavior. They could be powerful and competitive at the same time that they worry about being considered "unfeminine". Girls struggle with these conflicting messages in their everyday lives, trying to please all these other people and losing track of themselves. Writer Le Fan, who has experienced the same contradictions as growing up, hopes that girls could love themselves, put themselves first a little more. So here comes the Picture Books about Emotion Management for Girls. The series contains five stories of five courageous little girls who were experiencing confusion in their lives. Little Le Fan in I am not Just a Good Girl tried to find the balance between two sides of herself—a cool girl and a good girl. Xiaoxiao in I love myself learned to be more confident and accepted her new look after her baby teeth fell out. Jiang in I'm so Jealous learned to deal with jealousy towards her best friend. A timid girl Xiao in I can Say No strived to express herself and stop the little boy's bullies. Feng in I Really Want to Win embraced her inner "tomboy" with daddy's encouragement. All the five little girls, though struggling, broke out of cultural and societal stereotypes swirling around them and became their true selves.
Tumi Letsatsi is a 13-year old melanin kween living in Rondebosch, Cape Town. Her favourite colour is yellow, she's still trying to figure out how not to dent her afro on the bus, and how one goes about (ahem!) “french kissing”. She’s a little awkward and a lot uncertain about her future, friendships and how to put together a cool outfit! But then she stumbles across the magic of coding and creates an app called “Project Prep” that goes viral and rockets her and her friends to fame. Then everything starts to fall apart, as she deals with a catfish who befriends her and steals her code, nasty rumours at school and the newfound attention of a crush. The New Girl Code (by Niki Smit, locally edited by Buhle Ngaba) is about the wonders of working in tech, aimed at girls and young women aged 9-15. The project is an initiative of Inspiring Fifty and based on an idea by Janneke Niessen.
1. Auflage
A girl whose body is starting to change, and who starts exploring herself with great curiosity, notices that her Mom's body is also changing. It all started when Mom noticed a lump in one of her breasts. Thus beings a journey of mutual self-exploration, unending love, compassion, and the joy of sharing the marvel that the body is, and the importance of self exploration for women to take care of their bodies.
"The Clam Girl" tells a story that a young boy Bai Hai fishing in the East China Sea rescued a baby girl who turned into a clam. Later, the baby girl brought her sisters-- other clam girls to visit him. Around a string of pearls that the Clam girl gave to Bai Hai, the book presents a confrontation story between kind people like Bai Hai and the greedy and brutal emperor. It also tells the story how seaweed can help cure some disease. It is a typical legend story of "origins of creatures".
Little Lotus tells the story of the growth of a little girl named Lotus. She was born in an impoverished and backward family, where her grandfather prefers boys to girls, her mother is always busy and indifferent, and her father is often outside home during Lotus’childhood. Therefore, Lotus has grown into a sensitive and stubborn girl. However, her grandmother is a loving and wise person, who has taught Lotus the importance of kindness, tolerance and diligence. It is her grandmother who lights up Lotus’early life. Little Lotus focuses on the growth of children in China’s countryside by incorporating the author’s personal experiences, and presents different facades of a Chinese-style childhood.
Girlhood and whiteness in the British empire traces the interconnected histories of girlhood, whiteness, and British colonialism in the late nineteenth and early twentieth centuries through the study of the Girls' Friendly Society. The society functioned as both a youth organisation and emigration society, making it especially valuable in examining girls' multifaceted participation with the empire. The book charts the emergence of the organisation during the late Victorian era through its height in the first decade of the twentieth century to its decline in the interwar years. Employing a multi-sited approach and using a range of sources-including correspondences, newsletters, and scrapbooks-the book uncovers the ways in which girls participated in the empire as migrants, settlers, laborers, and creators of colonial knowledge and also how they resisted these prescribed roles and challenged systems of colonial power.
This graphic novel tells the story of Nyiragitwa, a Rwandan woman who is believed to have lived in the seventeenth century. It is based on an oral tradition that was shared by a man named Ndamyumugabe with the Belgian historian Jan Vansina in 1958 and raises important questions about how Rwandan women might have lived and contributed to their communities in the past.
Popular culture is invariably a vehicle for the dominant ideas of its age. Never was this truer than in the late-nineteenth and early twentieth centuries, when it reflected the nationalist and imperialist ideologies current throughout Europe. It both reflects popular attitudes, ideas and preconceptions and it generates support for selected views and opinions. This book examines the various media through which nationalist ideas were conveyed in late-Victorian and Edwardian times: in the theatre, "ethnic" shows, juvenile literature, education and the iconography of popular art. It seeks to examine in detail the articulation and diffusion of imperialism in the field of juvenile literature by stressing its pervasiveness across boundaries of class, nation and gender. It analyses the production, distribution and marketing of imperially-charged juvenile fiction, stressing the significance of the Victorians' discovery of adolescence, technological advance and educational reforms as the context of the great expansion of such literature. An overview of the phenomenon of Robinson Crusoe follows, tracing the process of its transformation into a classic text of imperialism and imperial masculinity for boys. The imperial commitment took to the air in the form of the heroic airmen of inter-war fiction. The book highlights that athleticism, imperialism and militarism become enmeshed at the public schools. It also explores the promotion of imperialism and imperialist role models in fiction for girls, particularly Girl Guide stories.
Inspired by the life story of Palestinian artist, Tamam Al-Akhal, The Lilac Girl is the sixth book for younger readers by award-winning author, Ibtisam Barakat. The Lilac Girl is a beautifully illustrated short story relating the departure of Palestinian artist and educator, Tamam Al-Akhal, from her homeland, Jaffa. It portrays Tamam as a young girl who dreams about returning to her home, which she has been away from for 70 years, since the Palestinian exodus. Tamam discovers that she is talented in drawing, so she uses her imagination to draw her house in her mind. She decides one night to visit it, only to find another girl there, who won’t allow her inside and shuts the door in her face. Engulfed in sadness, Tamam sits outside and starts drawing her house on a piece of paper. As she does so, she notices that the colors of her house have escaped and followed her; the girl attempts to return the colors but in vain. Soon the house becomes pale and dull, like the nondescript hues of bare trees in the winter. Upon Tamam’s departure, she leaves the entire place drenched in the color of lilac. As a children’s story, The Lilac Girl works on multiple levels, educating with its heart-rending narrative but without preaching, accurately expressing the way Palestinians must have felt by not being allowed to return to their homeland. As the story’s central character, Tamam succeeds on certain levels in defeating the occupying forces and intruders through her yearning, which is made manifest through the power of imaginary artistic expression. In her mind she draws and paints a picture of hope, with colors escaping the physical realm of her former family abode, showing that they belong, not to the invaders, but the rightful occupiers of that dwelling. Far from being the only person to have lost their home and endured tremendous suffering, Tamam’s plight is representative of millions of people both then and now, emphasizing the notion that memories of our homeland live with us for eternity, no matter how far we are from them in a physical sense. The yearning to return home never subsides, never lessens with the passing of time but, with artistic expression, it is possible to find freedom and create beauty out of pain.