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A Student Name:SABIHA METE

Student Number: MET21506489

Module Code: PUB060L050S

Module Title: PUBLISHING DISSERTATION

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Last updated February 2018

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How Do Words and Images in Children's Stories Influence the Aspect of

Illustration?

By Sabiha Mete

August 2022

This dissertation is presented in part fulfilment of the requirements of the MA Publishing

of the University of Roehampton

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duly acknowledged in accordance with University regulations. I have read and

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Date:_______________24.08.2022_______________________________
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Table of Contents

CHAPTER 1: INTRODUCTION........................................................................................8
1.1. Statement Problem..............................................................................................13
1.2. Background of the books....................................................................................14
1.2.1. Alice’s Adventure in Wonderlands.............................................................14
1.2.2. Anne of Green Gables.................................................................................15
1.3. Research Objectives............................................................................................16
1.4. Research Questions.............................................................................................16
CHAPTER 2: CONCEPTUALIZATION.........................................................................17
2.1 The Concept of Illustrations................................................................................23
2.2 Types of Illustrations..........................................................................................24
2.3 Use of Animations..............................................................................................24
2.4 Cartoons..............................................................................................................24
2.5 Movie Animations...............................................................................................25
2.6 Cartoons Panel....................................................................................................25
2.6.1. Example 1....................................................................................................26
2.6.2. Example 2....................................................................................................27
2.6.3. Example 3....................................................................................................28
2.7. Use of map..........................................................................................................30
2.8. Use of Colored Images........................................................................................30
2.9. Challenges posed by the inclusion of illustration of classic stories and modern
stories to the children and how they can be solved........................................................32
CHAPTER 3: METHODOLOGY.....................................................................................37
3.1. Research Strategy................................................................................................37
3.2. Research design...................................................................................................37
3.3. Research Paradigms............................................................................................38
3.4. Research approach..............................................................................................39
3.5. Sampling and sample size...............................................................................39
3.6. Data collection methods..................................................................................39
3.7. Ethical considerations.........................................................................................40
CHAPTER 4: FINDINGS AND DISCUSSION...............................................................41
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4.1. Image and Text Ratio..........................................................................................41

4.1.1. Example 4....................................................................................................41
4.2. Description of Characters through Illustration....................................................43
4.2.1. Example 5....................................................................................................45
4.3. Setting in Stories.................................................................................................48
4.3.1. Example 6....................................................................................................48
CHAPTER 5: CONCLUSION AND RECOMMENDATIONS.......................................54
5.1. Research Recommendations...............................................................................57
Reference...........................................................................................................................58
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List of Tables and Charts

Figure 1: Alice’s Adventures in Wonderland Cover Page (2015-P: cover page)..............15

Figure 2: Anne of Green Gables Cover Page (2015-P: cover page)..................................17

Figure 3: White rabbit, Alice’s Adventures in Wonderland (2015-P: 8)..........................28

Figure 4: Alice, Alice’s Adventures in Wonderland (2015-P: 12)....................................29

Figure 5: Alice, Alice’s Adventures in Wonderland (2015-P: 13)....................................30

Figure 6: From Alice’s Adventures in Wonderland (2015-P: 119)...................................43

Figure 7: From Alice’s Adventures in Wonderland 5 (2015-P: 29)..................................46

Figure 8: From Alice’s Adventures in Wonderland (2015-P: 21).....................................49

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CHAPTER 1: INTRODUCTION

Understanding the context of a text is always the primary objective of every

author. For adults, understanding is never the primary focus since the publishing and

translation process aims to deliver the story context and relevance. In this case, there is an

ultimate knowledge that adults would find alternative approaches to understanding the

context of the publications. Contrary, children's stories require the use of texts and

images to provide relevant illustrations of the author’s intent. The texts and images make

the publication literature interesting and understandable for children. This reflects the

value of engaging such illustrations in the children's stories as they make them relate the

context of the stories to their real life. In addition, the use of texts and images in literature

makes the writer confident with what they represent to their audience, “children” (Bakize,

2014). Tanaka argues that an image is one of the units of expression intended to

communicate with the receivers by stimulating or questioning a particular concept

(Tanaka, 1994). Pictures have the shape and features of speech that manifest themselves

to the audience. Therefore, the illustrations play a significant role in influencing the flow

of meaning to recipients. According to Knowles and Malmkjaer, illustrations are

fundamental as they help the reader to understand the interaction between story,

language, and the world (Knowles, 2002). This affirms that images and illustrations allow

children to interact directly with text because it stimulates their emotions and teaches

them how to use words in symbolism. Therefore, this dissertation explores two classical

children stories, Alice’s Adventure in Wonderlands and Anne of Green Gables, by

evaluating the various approaches that authors have integrated illustrations and use of

images to make it easier for the audience to read and understand the different editions.
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The choice for the two books primarily focuses on how the authors consider the

relevance, the value of illustration, and the use of images in describing the intentions of

their stories. Anne of Green Gables links a functional image connection between the

author's intentions to make the story attractive to the audience and to describe Anne's

experience while interacting within her environment. With such a perspective, it is

possible to extract the context of the author’s narration and establish how that interest and

attract children readers. Children's stories that meet illustration and interpretation are the

best in affecting both experience and relevance to the readers. Children are never

attracted to the content in the books or narration but to how the context of the narration

meets their persuasion. Again, the book Alice’s Adventure in Wonderland connects to

what is interesting to young readers. This explains why this book forms a valuable

context for this study, as it not only focuses on creating relevance of the story to the

readers but also describes the environment and nature that Alice experiences throughout

the narrative. While young readers like to have the actual relation and experience while

interacting with the context of their narrations, the most essential part of this is what takes

them to the outdoors. Nature is a valuable component of such children's stories,

especially when it comes to the point that it is connected to the adventure they can relate

to.

The use of images and illustrations in books and other publications is usually set

towards establishing characters and symbolic representations in the texts. Mbatiah

identifies characters in books or literature as individuals or representations that reflect the

action or conversation (Mbatiah, 2001). Tylor also offers a similar argument but with a

consideration that although each element of art has its peculiarities, illustrations are
 10

essential in conveying the message (Tylor, 2017). For example, illustrations describe

specific letters, such as words in a text. In addition, words are used to interpret

illustrations. Thus, words and illustrations are interdependent in articulating such

content's meaning.

The story of Alice and her adventures appeals to young readers due to its various

analyzed parts, which is why I have chosen Alice in Wonderland as the subject of my

study. Lewis Carroll could not have predicted how his story would evolve, from literature

to plays and movies to interactive media like video games, despite the success of the

books. Carroll's ambition for his readers to get fully immersed in Wonderland, its

characters, language games, puns, visual jokes, and math puzzles was perhaps not so odd.

To make his novels more children-friendly, he added drawings by John Tenniel (1820–

1914).

According to Will Brooker, the Alice volumes of Lewis Carroll were praised

during the Victorian era (Brooker 50). The two books' success must have piqued the

interest of many people over time, including cartoonists, filmmakers, and video game

developers capable of creating adaptations. Wonderland's absurdity allows the author a

chance to showcase their ingenuity. Any interpretation of the two books is distinctive

since there is no restriction on how Wonderland might be depicted. In Alice's Adventures

in Wonderland, a little child is shown falling down a rabbit hole and entering

Wonderland. She has now entered a strange realm where everything she had previously

taken for granted is no longer so definite.

An outstanding illustration of the significance and influence of a good story is

Alice in Wonderland. Studying illustrations from Alice in Wonderland provided a

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fantastic opportunity to observe the self-assurance artists should possess, the influence of

popular culture, the distinctive characteristics of various media, the positive impact of

remakes, and the connection between commercial media and art.

Similarly, the context of the theme plays a crucial role as images in providing

literature illustrations. According to Wamitila, the theme is used to describe the place

where an action occurs (Wamitila., 2003). Wamitila adds that themes are essential in

children's stories as it keeps the reader striving and see if there is a connection between

the music and the theme. Other structural elements include characters, intent, content, and

message portrayed in the story. According to Muusya, an article is an environment

created by the author, and the various events of a literary work take place (Muusya,

2012).

Moreover, Janovsky argues that themes are important because they tend to

influence the plot and characters in the story (Janovsky, 2018). While children's stories

have various themes, if the articles are portrayed in a complex way, then the message

intended by the author may be lost. Therefore, any artist must ensure that the theme they

have painted has the concept and structure intended in the story.

Some children's stories are told based on different translation approaches and

illustrations. Different scholars have described the concept of translation in their different

views, especially those that identify children's stories as literary writings to transform

their perception of their environment. An example would be driven from Kaui, who

argues that translation is a condition of giving text found in a particular literary genre to

the characteristics of other texts in different literary genres (Kaui, 2011). Sanders argues

that representation is the modification, creation, and simplification of children's textbooks

 12

so they can be understood (Sanders, 2006). Muthubi argues that representation is the

process of making the original text appropriate adjustments so that you can come up with

a target text that will suit the audience (children) who are targeted from the original text

(Muthubi, 2005). According to Omuya, representation is the process of modifying,

changing,r re-creating some elements in an initial text, such as plot, character names,

language style, and content, to target an audience different from that targeted by the

original text (Omuya, 2017). Thus, from the several literature approaches, presentation is

a form of texting, which is found in a particular literary genre, the characteristics of other

texts in different literary genres to be read by a diverse audience from the original. This

attracts an extensive value of illustrations in both texts, and the use of images as the

primary focus of such translations considers typically the audience, which in this case are

children.

Illustrations are images or shapes of an object or a person that are engraved,

painted, or imagery of a person or thing obtained by drawing on the shadow using a

camera (Tukı, 1981). In addition, Tuki defines illustrations as illustrating, drawing, or

drawing (Massamba, 2006). Bakharessa argues that illustrations are the shape of an

object on paper (Bakharessa, 1992). This means that the thing can present a figure of a

person, a car, a house, and various themes to facilitate communication. According to

Sohaimi, illustrations are all kinds of drawings used in and out of a book to enhance the

shape and style of a book (Sohaimi, 2011). Omuya explains that illustrations are images

or diagrams that show or describe something real in children's literature. The pictures are

usually painted or printed. Illustrations and stories are essential to the reader because they

make them more aware of what they are reading (Johnson, 1993). Nodelman states that
 13

the child understands the story better when looking at the illustrations and supports this

statement (Nodelman, 1996). Bodmer adds that illustrations contribute to expanding,

defining, interpreting, and even embellishing a written work (Bodmer, 1992). According

to Norton, illustrations in illustrated works have contributed to understanding the theme

of children's stories (Norton, 1987). These authors appreciate the value of illustration in

creating a connection between the artistic thoughts of the authors and an understanding of

the environment created by the children when they borrow the illustrations from the story

they read.

In addition, Lukens argues that illustrations have been used to create characters

and give readers a chance to make a statement based on what they saw (Lukens, 1990).

Moreover, Tannen explains that illustrations predict what will happen in a story the

reader reads (Tannen, 1984). The child's language is developed because of visual

representation. When a child encounters a figure he does not understand, he does research

and wants to know something that leads him to understand the language in depth.

According to Nikolaeva, illustrations are classified into two main categories, a

group of traditionalists and a modern one (Nikolaeva, 2016). Artists in the traditional

category used paper, paint, and pencil to reflect their illustrations. This included a variety

of older illustrations that engages the use of charcoal, pencil, ink pen, and wooden

materials in making their illustrations. Nikolaeva adds that graphic design issues gained

momentum in the modern era, estimated to have begun in 1888. Modern technology has

helped elevate graphic design from hand to computer, where painter uses software to

draw and reflect their illustrations. Omuya has listed various types of illustrations, such
 14

as; drawings, painted pictures, maps, statues, and cartoons, that have been simplified to

convey messages to children.

A few studies on the representation of illustrations in children's stories have been

conducted, such as by Muthubi (Muthubi, 2005), Kaui (Kaui, 2011), Sohaimi (Sohaimi,

2011), Balodis (Balodis, 2012), and Omuya (Omuya, 2017). However, these previous

studies did not directly link the story of child recovery with Alice’s Adventures in

Wonderland (2015). In addition, I have used the story of Alice’s Adventures in

Wonderland, the 2015 edition (Carroll L., Michael Foreman's, 2015), which has

preserved the text of the original texts, as opposed to other stories of his publications

(Carroll L., 1967) which has used different illustrations. The different editions of these

children's stories have distinct inclusion of illustrations to meet the changing culture and

environment of the audience. These aspects make these books relevant when evaluating

the individual relevance of images and texts in providing a connection between the

readers and their environment. Therefore, while the two books seem distinct, their

application of illustration by using both words and images transforms relatively

consistently to meet the adjusting social transformation. The authors tend to implement

the transformation of their illustration with the changing environment while maintaining

the narratives' primary objectives.

For example, the objectives of targeted research in selected presentations have not

been addressed. In this context, I have discussed the presentation of illustrations in

children's stories and how they contribute to the presentation of the message.

The different editions of these children's stories have distinct inclusion of

illustrations to meet the changing culture and environment of the audience. These aspects
 15

make these books relevant when evaluating the individual relevance of images and texts

in providing a connection between the readers and their environment. Therefore, while

the two books seem distinct, their application of illustration by using both words and

images transforms relatively consistently to meet the adjusting social transformation. The

authors tend to implement the transformation of their illustration with the changing

environment while maintaining the narratives' primary objectives.

In this study, two examples were used. First, the axis states that the story is an

essential link in the narrative. These elements include symbols, content, events,

characters, attitudes, context, and context, among other issues. Hutcheon argues that

feelings are essential in a story, considering how they grow psychologically and how the

audience associates them with the original text (Hutcheon, 2013). Hutcheon adds that the

narratives in the story can be summarized, and even its plot is twisted. In addition, the

motion of a story can be re-created, and time is shortened or narrowed. However, it is

impossible to change the perspective of a story because doing so can produce a new

story. This axis helped to identify the types of illustrations used in selected stories and

their contribution to the development of the message. Second, the presenter must transfer

the original text's meanings to the target text as specified by its author. Therefore, he

must consider the author's perspective on the characters and their characters, content,

narrative context, themes, techniques, and so on for these elements to convey meaning as

the author intended. This axis is helpful as it aims to analyze the challenges of using

illustrations that emerge in selected stories. In addition, I intend to suggest solutions to

the challenges posed by the illustrations in selected contexts.

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1.1. Statement Problem

Understanding the concept and usage of images, descriptions, and illustrations in

literary texts, especially when it comes to making the context of the literature

understandable, is the focus of this study. This makes it substantially essential to

understand the individual value of illustration. Again, illustrations contribute to

embellishing the shape and style of a book in illustrated children's works (Sohaimi,

2011). Language style, story plot, character depictions, and children's story themes

depend on how the author uses illustrations to convey the message. Illustrations can self-

transmit the messages intended by the author without any text. For instance, it would

impact a need to relate the visual images and analysis of the text in a way that the story

relates to the actual environment children live in of perceive. This would otherwise

educate and even create a sense of inquiry. In addition, illustrations entertain children and

instill in them a desire to learn more. Therefore, I intend to identify the types of

illustrations used in the two children's stories and establish how they have changed over

different periods and publications to ensure that children obtain the illustration they can

relate to.

1.2. Background of the books

1.2.1. Alice’s Adventure in Wonderlands

Alice's Adventure in Wonderlands is a tale about Alice, a young girl who

mysteriously gets into contact with the unpredictable, illogical, and mad world of

Wonderland. Even the name itself alludes to a notion of mysteries of a kind. After Alice

ignorantly trails a White Rabbit into a giant rabbit hole, she is forced to experience the

worst in her life, which makes her doubt her perception of common sense. However, her
 17

challenges do not seem to teach her any better lessons. As she awakes from her dream,

she wishes the plan had been a reality.

Figure 1: Alice’s Adventures in Wonderland Cover Page (2015-P: cover page)

Based on its context of literature and fiction, this book serves as an essential

sample description of how Lewis Carroll (author) ensured that being a children's story, it

contained relevant translations and illustrations that attract the audience. For instance,

focusing on the initial page and its introduction, Carroll uses the image of a rabbit

wearing a waistcoat. This is a primary point of enthusiasm for any child ready who would

want to have a similar experience. Similarly, the introduction identifies Alice as a young

girl who had a real experience like any other girl but was astonished to see and talk to a

rabbit with a waistcoat pocket, and the rabbit had a watch. Again, the introduction

describes some essential illustrations about the rabbit, including describing the “pink eye”

and the direct communication or conversation between the rabbit and Alice.

1.2.2. Anne of Green Gables

The literature of Anne of Green Gables describes Anne as a young girl who is

coming-in-age, but as an orphan, she finds herself living and interacting with the elderly
 18

population. Despite the many challenges and confrontations she passes through, the

major challenge that influences her ways of life is society's expectations that bind her

away from romantic relationships. Despite the several boundaries she faces, one thing

brings the final transformation of who she is and what she wants; following the voice in

her head. She believes that despite the problems and challenges she is going through, God

will always protect and provide for her.

Anne of Green Gables is another valuable children's storybook that integrates

illustrations and themes as important considerations to make children understand and

develop an enthusiastic focus on the literature. Beginning from the cover page,

Montgomery uses an image of “Anne,” a young girl with her bag outside and alone. This

is an obvious point of enthusiasm and questioning for any child exposed to such reading.

It results in several literature questions about why, where, and how Anne was alone in

such an environment. Similarly, the literature content gathers a descriptive translation

approach in which the author describes various events to provide the audience with the

ability to understand the context of the narrative.

Figure 2: Anne of Green Gables Cover Page (2015-P: cover page)

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1.3. Research Objectives

i) Identify the types of illustrations used in the two books and their contribution

to the development of the message.

ii) Investigate the challenges posed by retaining illustrations in classic and

modern stories and solutions by focusing on the two books.

1.4. Research Questions

i) What types of illustrations are used in the two books, and what is their

contribution to the development of the message?

ii) What are the challenges posed by the inclusion of illustrations in classic stories

and modern stories? How can they be solved?

iii) How do the different publications and authors reflect the use of images and words

to meet the story's objective on the different publications?

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CHAPTER 2: CONCEPTUALIZATION

Illustrations play a significant role in establishing the value of texts. In most

cases, the illustrations depict a specific context the author considers relevant to their

narrations. While illustrations significantly influence the context and value of the stories,

some scholars and literary critics have identified several factors that may affect the

illustrations created by texts. Academic language is loaded with phrases, idioms,

proverbs, and metaphors of other expressions. Thus, a person immersed in the process

encounters difficulty in conveying the message with appropriate words. For example, the

translator may have trouble finding synonyms, and the result is using synonyms, which

can create clouds of distortion of the message in the original text. Likewise, challenges in

literary interpretations can be identified through concepts or terminology developed in

the presentation of literary texts.

2.1 The Concept of Illustrations

According to Hunt, illustrations are elements used to convey complex messages,

especially by depicting real objects from a community or the real-world (Hunt, 2006). In

addition, Hunt adds that illustrations are important elements of conveying a message

different from the text in a text that is familiar to many. Kiefer, Helper, and Hickman

argue that illustrations are the basic tools to teach children in children's literature (Kiefer,

2007). According to Sever, illustrations are messages that stimulate message formation

and explain the meaning of the text contained in the text in detail (Sever, 2012). From the

opinions of these experts, it is clear that illustrations are elements used to convey a

message in a text. Illustrations and text are interrelated because they are intended to

convey a coherent message.

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This book has many drawings, unlike the vast majority of novels that have been

produced worldwide. There are precise explanations that alter how the reader interprets

the story. The pictures for Alice's Adventures in Wonderland are crucial because they

give the oral story a visual structure, making it easier for kids to retain and comprehend

challenging concepts. In addition to beautifying the narrative, the images also clarify

insufficiently detailed descriptions. The odd position that Carrol gave to the drawings

was informed by the demographic of his reading audience. Because the two parts are

considered as a whole, it is noticeable that some of the story's intricacies in the

illustrations throughout the book are not repeated in the written test. Because the book

was primarily aimed at youngsters, Carrol had already chosen to include some

illustrations when he penned his story.

Therefore, all readers are expected to consider the images part of the descriptions

as they are being read. This narrative's narrator is quite traditional and highly unusual in

different ways. The narrator, an outside observer, relates Alice's feelings and thoughts,

shares her perspective and appears to be unaware of Alice's thoughts. Throughout the

novel, he makes numerous comments in direct addresses to the readers, frequently in the

form of bracketed words. An environment of comfort, warmth, and trust is created by the

narrator's relationship with the readers. Carroll was influenced by his young readers. This

can be reflected in his work because he first chose to tell the story from a child's

perspective instead of bringing a concept of adult or adult experience. The second

perspective is in line with his overbearing narration and illustration, which he uses to aid

young readers in better understanding the story. The third influence is the atmosphere of

assurance that such a narration creates a necessaryexperience for young readers.

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2.2 Types of Illustrations

This section addresses illustrations such as; cartoons, maps, painted pictures, and

drawings. In addition, this section highlights the contribution of illustrations in

developing the message. See the following examples of illustrations used in this section.

These examples are given in selected Anne of Green Gables (McHugh, 2008) and Alice’s

Adventures in Wonderland (Carroll L., 2015) stories.

2.3 Use of Animations

Mifflin explains that the word cartoon comes from the French word Cartoon

(Italian) Cartone and Dutch Karton, meaning heavy or hard paper (Mifflin, 2009). A

cartoon is a board that draws a whole picture in colour on stiff paper as a reading pattern

called Modello (in Latin). Due to this original meaning, the word cartoon has taken on

different meanings, depending on the structures or shapes and its use in society.

However, various experts have defined the concept of cartoons; for example, Lester

argues that a cartoon is a diagram or image that is presented and manages a particular

pattern that reflects a particular shape and its significance in a story (Lester, 1987).

According to Gabirelli, cartoons appear in drawings, pictures, or illustrations and are

usually funny shapes (Gabrielli, 2006). The cartoonist Paul Otuoma states that there are

three types of cartoons; animation, panel animation, and film animation.

2.4 Cartoons

Bohl argues that cartoons are humorously painted by various artists and are used

to visualize a sensitive issue plaguing society (Bohl, 1997). These animations are

creatively drawn together with words that can evoke different emotions depending on the

individual. These words often mimic the characters supposed to have said all the words.
 23

Obonyo argues that this type of cartoon plays a role in humour and exhaustion (Obonyo,

2004). He says that historical cartoons serve as a reference but also highlight the

community's use of language in communication and cultural development.

2.5 Movie Animations

These cartoons are also called live cartoons. It is used as a way to relax and

uniquely relieve fatigue. These animations are usually different images that are put

together to keep alive and mimic human actions using a variety of characters that can be

human or animal. For example, animated films are found on television and video: Tom

and Jerry, Scooby-Doo, The Simpson, Superman, Spiderman, Garfield, Thumbelina,

Gold Treasure, Mulan, and Diamonds and Frog, among other films. These films have

many pieces linked together with the main stimulus at the end (Feldman, 2005).

Animated films have not been used in Alice’s Adventures in Wonderland (2015) and

Anne of the Gables of Green (2008). For example, some artists have acted out the story

of Alice’s Adventures in Wonderland (2015) in some films in English. However, targeted

research has included literary articles in novel genres and not drama films.

2.6. Cartoons Panel

Lordan states that animations are in a single panel (Lordan, 2006). Paul Otuoma

reinforces this statement by stating that a cartoon is placed to convey a particularly

interesting story but from the point of view of what is happening in society. It always has

something to motivate its readers under that panel, such as Bogi Benda, Phantom, and

Spiderman, among other cartoons. In addition, books of this genre contain the

continuation of stories, such as Tin Tin, Pink panther, and Pokoyoyo Jokes, among
 24

others. Similarly, Paul Otuoma adds that cartoons are part of the Zeitgeist (revolutionary

period), and looking at them often conveys the Zeitgeist concept when published.

2.7. Use of map

According to Kümmerling-Meibauer, maps are used as symbolic representations

and embellishments of children's work (Kümmerling-Meibauer, 2015). Similarly, they

emphasize that the map's main purpose is to assist in understanding the story in children's

literature. According to Goga and Kümmerling-Meibauer, a map is a tool that helps us

organize, store and remember information about a particular area (Goga, 2017). Goga and

Kümmerling-Meibauer add that studies that have been done on the history and

development of maps in children's literature are few and far between; therefore, some of

these studies have been published in journals, articles, and various chapters of studies.

According to Pavlik and Bird, maps in children's literature can be grouped into

three categories. First, maps that depict real themes (Pavlik, 2017). Second, fantasy maps

that have no reality are designed by the artist, and third, are maps that deal with realism

and fantasy simultaneously. Pavlik and Bird added that maps had been used in children's

works as illustrations since 1882, when Robert Louis Stevenson used maps in his book

Treasure Island. Mapping is a type of figure that child reviewers have overlooked.

Initially, children's textbooks were mapped out as boys' books. Nowadays, children know

about mapping issues, and this is because of the teaching of School Geography at Pavlik

and Bird.

2.8. Use of Colored Images

Cass states that children choose high-quality books (Cass, 1984). This statement

has been echoed by Tucker, who adds that colour is an essential element in young
 25

children's books (Tucker, 1984). In addition, he emphasizes that children prefer books

that have painted pictures. Children choose books with black or white pictures if the story

they are reading is interesting. Children are more likely to recognize red when erased by

yellow, blue, and green. In children's works, colour can intimidate a child or flatter them

depending on how the image uses the colour. Children associate colours with various

elements such as; sun-yellow, cloud-blue, grass-green, and stem-brown. Moreover, Wills

adds that the first thing children enjoy and express emotion to is colour (Wills, 2015).

According to Wills, colour illustrations in children's works are important and

contribute in various ways to children's literature. For example, if colour is used properly

in children's activities, it may instill a desire to read and thus develop intellectual

development. Second, when artists in children’s works use bright colours effectively,

they make children adapt to what they read and what they see in the real world. Similarly,

color-coded pictures are important for children because they help them distinguish

between real and imaginary things. For example, an orange tree with a purple trunk will

spark a debate among children. Finally, colour enables the child to recognize the

environment and thus allows them to understand where they live.

The following examples have used coloured pictures in selected presentations and

explained how those images were used in the presentation of the message. Coloured

pictures have been used extensively in the biography of Anne of the Gables of Green

(2008) as opposed to the story of Alice’s Adventures in Wonderland (2015). However, all

the files in the selected layouts have used coloured images. See an example of; Anne of

the Gables of Green (2008) on the Front Cover, Anne of the Gables of Green (2008- UK:
 26

12), Alice’s Adventures in Wonderland 7 (2015) on the Front cover, and Alice’s

Adventures in Wonderland 8 (2015) on the last cover.

Benton and Ruthiiri agree that a children's book review starts with a file; thus, the

file contains a summary message of the story in the book. The message on the cover

needs to be interesting. In children's literature, illustrations on the cover may be the basis

for motivating a child to read a particular book. In addition, the colour on the cover of a

children's book should be bright and attractive. The most crucial link in the structure of a

book is illustrations or the presentation of words using pictures. In children's literature,

especially for low-grade children, illustrations help make the book attractive to the child's

eyes and emphasize important concepts in the book. For example, illustrations help

readers whose understanding of concepts is limited. Illustrations contribute to the

presentation of a text or story, draw the reader's attention, summarize the main idea, help

alleviate the reader's fatigue, help the child remember the story and even provide more

clarity about the plot.

2.9. Challenges posed by the inclusion of illustration of classic stories and

modern stories to the children and how they can be solved

Various challenges are posed to children when they are reading stories. The

children used the two stories, which allowed for the comparison and provided them with

an insight into the design issues that they would use relevantly. After conducting a pilot

study, it was evident that the sun story lacked a flow and led to children engaging less. It

was included in this story in the observation as it was hoped from a comparison to

understand the real problems better (Chawla, 2020). The observation, design, and Method

of many stories should target learners aged 6.5-7 years from primary school. Although
 27

the children knew how to read, it was a challenge for them to be able to read alone; thus,

most of the stories should be written in a way that will promote collaborative learning for

the children. To solve this challenge, heads of schools and parents are asked to include

pairs and individual readers. The children knew each other well, and the stories were

focused on learning the children's opinions and thoughts. Constructive interaction creates

a natural communication situation that alleviates the challenges involved in thinking

intensively in children. The illustration of these stories posed challenges to the children

who do not interact with the storybook; thus, through the individual reader's observation,

there needs the ability of young people to interact and read the storybooks and interact

with the technology when instructors present to them. It was observed that individual

children reading and interacting with either of the two augmented storybooks at a

distance alone is a big challenge for them. The children are helped by their teachers when

they are stuck while reading and comprehending the context of the literature. Every child

was supposed to read each story. After the six children finished reading the storybooks,

the teachers and other assistants gave them structured interviews. These interviews

helped them to know where to rectify and provide a better understanding.

Findings General Observations and Findings after observing the children's

behaviour after reading the stories, it was realized that they were very different. It is

believed that this diversity amongst eight children only represents the multitude of styles

present between conflict or struggle and collaboration. The children's interactive

sequence and classes were diverse, with experimental and playful interactions on one side

and strategic problem-solving on the other. Through the stories, there observed apparent

disparities relating to if children were active and explored the characteristics of the AR
 28

stories. The children's interaction style correlates with some phenomena and issues that

may not be covered in the stories, which is a challenge for them. Since for the children to

read the two stories together was a challenge to solve such a challenge, the children were

supported in the first two series and learned how they would move from one-step to

another in which; most of them used the system without needing any prompt. When a

particular story has a definite storyline, structure, and series, the children are advised to

read another without requiring intensive assistance. These observations were based on the

findings of another study that was not fully utilized. This correlation indicates that this is,

to some extent, true for the low ability of the children.

In the design of Interactive Sequences of the AR stories, the contributions made

by interactive sequences to the story are significant to the children. There is a need to

consider classic storytelling elements, such as setting, story plot, and the choice of the

main characters. It was found that the sequences, which did not promote the advancing of

the story, were not satisfactory to the children, which is a challenge. Sometimes they only

confused them, mainly when teachers did not signal the children whether they had

completed the sequences. When the chicken story was used, the interactive series had the

features of the story go over challenging situations, with the chicks, for example, getting

from the eggs as they tried to run away from a fox. In this story, the chickens are seen

walking from the screen. It observed that the children react to chickens walking off the

screen by instantaneously switching off the interactive sequence. When the interactive

series failed to solve the challenge, the animated chicks would shout, "let us try

somewhere else." It was observed that the children preferred to move to the following

scene when this happened. Other children kept asking where they should try and tried
 29

different actions on the same page. The role of Interactive Sequences is the use of an

interactive sequence in the story recreating the plot of a story. Firstly, it was observed

that children interacted with what was contained in the storybooks explained in the

report. In addition, it was observed that children tried to recall the information in the

series and perform different activities accurately without playing too much or carrying

out experiments. When the activities of an interactive series were not primed in advance,

the learners became increasingly playful as they tried to unveil what they needed to

achieve, which was a challenge. The stories and an interactive sequence should be

encouraged and demanded enough from the users, particularly children. The stories

presented to young children must be engaging and have a clear climax and structure.

Gilbert Blythe, who insults Anne by calling her a "carrot" and yanking her red

braid, becomes her enemy when Anne is sent to school. In retaliation, Anne yells at him

and throws a slate over his head. The two begin to compete after this. They are the

brightest pupils, and their competition continues until the book concludes. Anne loses

part of her immaturity as she gets older. She starts to focus more on her academic goals

and loses her passionate side. Miss Stacy, one of her professors, sees Anne's promise.

Miss Stacy persuades Anne to join a group of pupils preparing for the Queen's Academy

admission exam. This causes her long-standing rivalry with Gilbert Blythe to alter in a

way. They depart for the Queen's Academy together after nearly four years of silence

between them. Anne has a strong desire to impress Matthew and Marilla. She puts much

effort into her studies and eventually receives the esteemed Avery Fellowship. She will

have enough money to start her four-year college studies the following fall.
 30

In a hurry to get the news to Matthew and Marilla, Anne leaves for Green Gables.

Matthew, who had previously experienced cardiac issues, passed away from a heart

attack. Marilla is losing her vision, and Anne also learns this. As a result, she decides to

forego her academic aspirations and remain at Green Gables. When Gilbert learns about

everything, he resigns from his position as a teacher at the Avonlea school so Anne might

work in a place close to Marilla and her house. After almost five years of conflict, Gilbert

and Anne develop a strong bond. She is positive and cheery despite her destiny seeming

predetermined and somewhat limited. Generally, integrating interactive series using AR

technology needs to augment and be an illustration of the text and contribute

satisfactorily to the stories. When the children are left to experience the stories without

the instructor, it is a big challenge; thus, book authors should ensure that the points they

integrate are easy to understand by young children, primarily when interactive sequences

are used. The study encourages the use of AR children's books by allowing them to

participate in promoting and creating content based on the pastoral life of priorities. The

study highlights the features of AR and reveals educational values that should be found in

the system and the study of strategies to incorporate the features into a perfect education

calendar for children.

Another challenge posed by the stories to the children is that when the storybooks

are changed to film, the adjustments tend to change the stories' objectives. Thus, to solve

these challenges, children should read the original stories to grab the exact content from

the author since this alters the story's meaning and end up interfering with the children's

understanding and creating different images in their mind of them.

 31

CHAPTER 3: METHODOLOGY

This research has been done using secondary sources of data. In the library

reading, I visited the library to read written works related to this topic. Library; books,

articles, volumes, dissertations, journals, and publications related to research topics have

been read to reinforce my arguments and statements. The Internet has also provided

useful downloads of recent articles focused on the topic. This study has been able to

highlight the previous work that has been addressed concerning this topic to identify the

issues that have been researched.

3.1. Research Strategy

The research strategy for this study was the deductive strategy, as it was easy to

answer the research questions and meet the research objectives. In this approach, the

formulated aims of the research were answered by practical tests of the collected data. I

observed general theories and collected data according to the research-set regulations and

standards. In this dissertation, I chose the deductive approach because it provides the best

opportunity to analyze and evaluate the various sources individually while also

developing a relevant conclusion. General theories were observed, out of which aims

were formulated, and a questionnaire to collect the data was set up; this was essential to

test those against existing literature to be able to either confirm or reject the original

theories in the end.

3.2. Research design

Research design is a blueprint or a plan of how a researcher prefers to conduct the

research. Research design underlines the type of study planned and the kind of intended

results. Research design outlines a specific and coherent strategic plan to conduct a
 32

research project to test the relevancy and validity of research findings. Furthermore, the

research design employs the study objectives as a starting point and focuses on

determining the evidence necessary to answer research questions. This section briefly

describes the research design employed in achieving the research objectives. In this case,

the research involved an inclusion and exclusion method in which various literature and

novels were evaluated for children. The inclusion theory ensured that all literature that

defined the topic on publishing and translations of children's stories and how illustration

influences the understanding of the literature.

3.3. Research approach

This phase builds upon the philosophy and outlines the framework that will be

used for reasoning as it aids a researcher in understanding the type of research and how it

should be carried out to arrive at the research objectives. In this regard, given that the

research is primarily focused on understanding opinions and personal inclinations, the

deductive approach is more suited as it allows for the formation of testable hypotheses

from the review of literature that is in line with the research objectives, which are later

evaluated based on the data collected to service the research purpose.

3.4. Sampling and sample size

This research focuses on children's literature. I relied on different secondary

sources to collect the data by focusing on extensive publications and different editions.

This was to ensure that rich and valid data was obtained to ensure this research paper was

relevant and valid. In this research, I have focused on evaluating two significant

children's story books, Alice’s adventure in Wonderland and Anne of Green Gables. The

research focuses on evaluating how

 33

3.5. Data collection methods

The research project employed qualitative research techniques to answer the

objectives and questions of the research. This research used various data collection

methods, such as synthesizing secondary sources. The four storybooks were well

analyzed in how the writers illustrated various concepts using different techniques.

3.6. Ethical considerations

Research ethics are very significant in any research. I had to get permission from

the relevant authority to conduct this research. As this research involved secondary

sources, I handled the data carefully. To obtains valid data, I conducted the dissertation

according to the objectives and questions of this research. I had to sieve information from

the storybooks to evaluate the relevance of such images and illustrations in making the

children understand the narrative concept. This ensured only the crucial data composed in

this research.
 34

CHAPTER 4: FINDINGS AND DISCUSSION

The concept of challenges in research was considered confusing or confusing. In

addition, solutions to those challenges have been outlined. This section has been

discussed to highlight important aspects of children's literature such as; image and text

ratio, characterization through illustrations, story themes, and colour usage. In addition,

the theory of Implementation has been applied. Finally, a conclusion is drawn.

4.1. Image and Text Ratio

According to Cass, very interesting pictures are important for scholars who do not

quickly understand (Cass, 1984). Oyoo argues that it is essential to balance texts and

illustrations as illustrations try to draw the words in the text (Oyoo, 2003). Suppose the

artist is able to use illustrations as a way to communicate with the child. In that case, he

will enhance the story's quality, make the reader remember the story, make the story

understandable, and make his book interesting to the reader. Some illustrations in Alice’s

Adventures in Wonderland (2015) have been particularly controversial regarding image

and text. However, challenges arise, and the image proportions in Alice’s Adventures in

Wonderland story have been suggested. See the example of Alice’s Adventures in

Wonderland 16 (2015-P: 119).

4.1.1. Example 4

In this Alice’s Adventures in Wonderland (2015-P: 119), a rabbit is dressed in a

robe while holding a piece of paper in his hand. This is the Masika Rabbit, and he was in

court in the process of calling witnesses who were supposed to give testimony about who

ate the tart cake. Whenever witnesses were called, the Masika Rabbit blew the trumpet in

court.
 35

Figure 3: From Alice’s Adventures in Wonderland (2015-P: 119)

However, this figure is set and attached to the information that does not overlap.

Under this diagram of Alice’s Adventures in Wonderland (2015-P: 119), the text attached

to this illustration refers to the first witness, a Hatter. According to the text, Mshona

Kofia entered the courtroom holding a cup of tea and buttered bread. This caused a

quarrel between him and the King, who felt that the Seamstress was degrading the dignity

of the court. Similarly, it is clear from the text that the character Kipanya, his friend,

accompanied the Seamstress. The two men entered the courtroom holding hands because

they were close friends.

Beck argues that if illustrations do not overlap with the text, then the

comprehension of the text may be compromised (Beck, 1984). This illustration of Alice’s

Adventures in Wonderland (2015-P: 119) raises many questions as it does not match the

text; therefore, the painter did not have to put it in place. The target reader, a child, may

be left to wonder about Alice’s Adventures in Wonderland (2015-P: 119) and the text's

information. Thus, the target child may have many questions regarding the correlation

between pictures and text in the example of Alice’s Adventures in Wonderland (2015-P:

119). In addition, in the text of Alice's Adventures in Wonderland (2011), the artist has
 36

faced the same challenge of matching images and text in the corresponding illustration

and, thus, placing the child who is the target at a crossroads.

To eliminate the ambiguity of the image-text ratio in Figure Alice’s Adventures in

Wonderland (2015-P: 119), the painter would depict the characters accordingly. First, she

would draw both characters while depicting the roles of the characters as in storytelling.

For example, he would draw the character Shona Kofia, who entered the courtroom

holding a cup of tea and buttered bread. In addition, he would portray the character

Mouse, who entered the court holding the hand of the protagonist Mshona Kofia. By

following these suggestions, the story may be easier to understand, and, more likely, the

child will not be surprised by the details in the text, as there will be a similarity between

the pictures and the text.

In addition, in Alice's Adventures in Wonderland (2011), there is controversy over

the correlation between image and text. Thus, the basis of the proposed solutions in

Alice’s Adventures in Wonderland (2015) can be used as a criterion for eliminating the

ambiguity of the image-text ratio in Alice's Adventures in Wonderland (2011).

4.2. Description of Characters through Illustration

According to Ruthiiri, characters are creatures in any story and are 'human beings'

in literary works. They have moral, behavioural, ideological, and philosophical

characteristics identified in what they say and do (Ruthiiri, 2012). Moreover, Wamitila

explains that characters are the main material in literature because they are the compass

of events and actions in literary work (Wamitila K., 2008). From the views of these

experts, it is clear that the characters are design beings found in a literary work and help

to build the content and intent of the author.

 37

In the story of Alice’s Adventures in Wonderland (2015), the use of characters

exists, and some of these characters are like animals, humans, and even strange creatures.

For example, there are animal characters such as; the White Rabbit, Mouse character,

Duck Dodo, Cat Dinah, and a variety of birds, among other animals. Strange creatures are

like; Cheshire cats, Fish Servant, Frog Servants, and human characters; Alice, Seam Hat,

Duchess, King, and Queen Characters are among the other models in each unit.

In children's literature, illustrations should be illustrated more realistically or even

by following a flow of storytelling to avoid contradicting what is in the text. In doing so,

the children in the target audience will likely be able to identify themselves with the

graphics or characters. As a result, the narrator and painter's goal of conveying the

message will be achieved. However, some of the illustrations in the ANIA story are likely

to provoke controversy over how the characters' portraits through the illustrations were

made (O'Connor, 2015). For example, see Figure 5 (2015-P: 29). This diagram discusses

challenges and proposed solutions.

In this diagram (2015-P: 29), a girl is standing while receiving something from an

animal. The girl is Alice and this time she was giving prizes to the animals participating

in the competition. After the race, the animals asked Bata Dodo to announce the winner

and give him his prize. From his knowledge, Bata Dodo told all the animals that

participated in the race that they had won. Therefore, he assured them that each of them

would receive a gift from Alice. Alice put the candy in her bag and gave it to the animals.

In addition, he, fortunately, found that his sweets did not get into the saltwater while

swimming in the ocean.

 38

4.2.1. Example 5

The rat character suggested that Alice should be given a gift. Therefore, all the

animals agreed that Alice should keep her candy. However, Bata Dodo asked Alice to

give him anything else as a token to give him a gift.

Figure 4: From Alice’s Adventures in Wonderland 5 (2015-P: 29)

In this diagram (2015-P: 29), some challenges are manifested, such as; the sweets

he gave to the animals that took part in the competition are not in the figure. Similarly,

the themes depicted in Alice’s Adventures in Wonderland (2015-P: 29) do not interfere

with what the author has written in the text because, the author states, they are in a field

where animals participated in the race. In that part, it is portrayed that the arena has no

realism of the arena. Moreover, there is a particular controversy about how the characters

were drawn. Some characters, such as birds, have no legs or even a body; most are just

pictured with heads. Alice also does not have one hand while giving gifts.

According to Marchini (2011), children's pictures should be fun, funny, and the

ones with which children identify themselves (Marchini, 2011). This statement has been

corroborated by Richmond, who adds that characters portrayed in children's works

 39

deserve to evoke emotion among children, especially concerning plot twists (Richmond,

2019). In addition, the artist's ambiguity in his illustrations may complicate a child who

often uses illustrations to understand the text better. However, the ambiguity associated

with portraying the characters in this illustration of figure 5 (2015-P: 29) has been

suggested.

First, it is likely that the illustration of Alice’s Adventures in Wonderland figure 5

(2015-P: 29) would have been easily understood by the target audience if the artist had

focused on properly depicting the characters through the illustrations. For example, the

painter would paint the candy Alice gave to the participating animals. In doing so, the

target reader may have had the opportunity to harmonize the ideas of the text with those

of the figure. In terms of landscapes, the artist would paint a picture of realism, especially

by drawing the field as it deserves.

Regarding the depiction of characters through illustrations, the artist would

consider realities such as; keeping the birds' feet and even completing the shapes of their

bodies, especially by keeping all the organs of the body. Similarly, the character Alice

deserved to be portrayed with both hands. It would be better if one hand of Alice gives a

gift while the other holds the same gifts so that the Alice’s Adventures in Wonderland 5

figure (2015-P: 29) has the interaction and flow of the elements in the story.

According to Bluestone (Bluestone, 1957), Goodman (Goodman, 1976), Andrew

(Andrew, 1984), and Starrs (2006), presenters are required to transfer the elements of the

original text to the target text as determined by its author. Therefore, he must consider the

author's perspective on the characters and their characters, content, narrative context,

themes, techniques, and so on for these elements to convey meaning as the author
 40

intended. The author and author of the target text Alice’s Adventures in Wonderland

(2015) has taken into account the views of Bluestone and the theorists of the Theory

because he has ensured that the target author, through illustrations, has identified the

meaning of the original text. An example is this model 5 (2015-P: 29), which has been

used in Alice’s Adventures in Wonderland (2011) and Alice’s Adventures in Wonderland

(2015). Based on the comments of Bluestone, the illustrator of Illustrations in Alice’s

Adventures in Wonderland (2015) has faced the challenges faced by the author of the

original text of Alice's Adventures in Wonderland (2011). Similar illustrations have been

used in the stories of Alice’s Adventures in Wonderland (2015) and Alice’s Adventures

in Wonderland (2011). However, the challenges and solutions arising from the imagery

of characters through the illustrations in Alice’s Adventures in Wonderland (2015) can be

used as criteria for identifying ambiguities or even proposing solutions in Alice’s

Adventures in Wonderland (2011).

4.3. Setting in Stories

According to Kezilahabi, there are two types of themes; real themes and design

themes (Kezilahabi, 1983). Mbatiahstates that the theme can be at home, on the road, or

in the field of objects (Mbatiah, 2001). In addition, the theme is the image of the place,

especially if it is interesting. Thus, the theme is wherever the story takes place. According

to Erickson (2018), the theme becomes an integral part of the story (Erickson, 2018).

Moreover, one story can have different themes depending on its events and visas. In

addition, the reader should ask himself the following questions: What geographical

location did the events come from? In what situations do they happen? Such as weddings,

celebrations,work, vigils, rituals, and so on. The fifth edition has been used to illustrate
 41

the challenges associated with depicting themes in selected stories. In addition, solutions

to these challenges have been proposed. See the example of Alice’s Adventures in

Wonderland 6 (2015-P: 21).

4.3.1. Example 6

In example 6, Alice’s Adventures in Wonderland (2015-P: 21), there is a girl who

is swimming in a pool of water, and this is according to the text. This girl is Alice, and

she was swimming in her tears. Figure 6 depicts a time when Alice ate a cake, and her

body became so tall that she could not fit in the door. Alice cried loudly, and her tears

turned to the sea for her. Later, her height changed again, and she became less and less

able to swim. Alice regretted crying as she saw she would look into the water.

Figure 5: From Alice’s Adventures in Wonderland (2015-P: 21)

Exaggeration is a technique used to describe the state of enhancing the character

of something more than usual (Wamitila K., 2003). The use of exaggeration is in selected

stories, such as in this illustration of Alice’s Adventures in Wonderland in figure 6 (2015-

P: 21). In children's literature, the exaggeration technique is widely used. However,

 42

misuse of exaggeration may contribute to misunderstanding the flow of storytelling. For

example, the use of exaggeration in the text may contribute to the ambiguity of this figure

6 because it contradicts figure 6 (2015-P: 21). In the text, the author states that Alice

swam in her tears, which had turned, into the sea. This was due to the change in his

height. However, the depiction of the theme through the use of exaggeration in this

illustration of figure 6 (2015-P: 21) has hit rock bottom as the theme of tears and even the

sea in the story of Alice’s Adventures in Wonderland (2015) is not correctly portrayed.

Thus, the child may have difficulty finding the author's and the painter's intent due to the

exaggeration's misuse.

Children's books often rely on illustrations to define themes. Furthermore, stories

that explain historical or even cultural issues can be easily understood through

illustrations rather than text in texts (Erickson, 2018). The themes depicted in this figure

6 (2015-P: 21) have no realities and, therefore, may pose a challenge. Figure six (2015-P:

21) may not deliver the intended message because this figure 6 theme is not directly

understood. However, the reader may have gained an understanding of the imagery if he

reads the text without relying on figure 6 (2015-P: 21). For example, Alice is portrayed in

a scene that is thought to be a sea. This theme has no real significance due to its posture

and thus sparking controversy. The sea depicted in this figure 6 (2015-P: 21) is painted

white and black and thus raises many questions about its authenticity. Moreover, Fang

argues that a theme is used to describe the time and place where a story occurs in order to

create emotions in a story and even to define the background history of a story, or even to

convey symbolic meaning in a story (Fang, 1996).

 43

There is a shortlist of books that continue to live, the breathing parts of pop

culture after their original publication, where many books have a brief "shelf life" as a

conversational topic; few find new audiences year after year. Even in this group of

literary scholars, some people are more famous than others - everyone knows that Alice

in Wonderland continues to capture the imagination. However, other works have been

done naturally and are discussed almost immediately invisible - like Anne of the Green

Gables.

That changed in 2017 when Netflix introduced new novel changes like "Anne

with an E" (Walley-Beckett, 2017-2019). This modern translation of the beloved story

was dug into the darkness of the news and then dug deeper. Contrary to all other book

changes, Netflix went the "religious" way in the story of orphan Anne Shirley and her

adventures on Prince Edward Island, which had long-time fans and especially fans of the

1980 PBS 'version of the sunny version on weapons. Taking endless fire happens to reject

or defend the path.

Of course, people are fired with strong arguments about books that remain and are

important; the sleep classics we read out of duty or curiosity do not inspire many

arguments. The fact that we are still talking about Anne of Gables Green in the 21st

century shows how powerful and beloved stories are - and is reminiscent of how books

have often been transformed into films, television, and other media. There have been

nearly 40 revisions of the novel so far, and as the Netflix version shows, there is a strong

possibility that as many generations and new artists can put their stamp on this common

story. That means Anne of Green Gables has a chance to be the most happening book of

all time.
 44

4.3. Use of Cartoon Images

The Story of Alice’s Adventures in Wonderland (2015) uses cartoon-type cartoons

to describe the plot flow that is entertaining to the audience. This child is different from

the biography of the Son of Recovery (2008), which used painted pictures to create his

story. See examples of Alice’s Adventures in Wonderland (2015-P: 8), Alice’s

Adventures in Wonderland (2015-Pg: 12) Alice’s Adventures in Wonderland (2015-Pg:

13).

4.3.1. Example 7

In Figure 1, Alice’s Adventures in Wonderland (2015-P: 8), a Rabbit is wearing a

jacket while holding a watch in his hand and placing his shotgun on his shoulder. This

rabbit is standing in an environment with plants, and he looks like he is looking at his

watch. In this illustration of Alice’s Adventures in Wonderland (2015-P: 8), the character

Alice saw a Rabbit looking at his watch, so Alice decided to follow him. In the process,

Rabbit said this while telling Alice that he did not have time. Alice did not listen to

Rabbit, and instead, he kept chasing her until Rabbit ran to the hole and went inside.

Alice followed the rabbit into the hole and began looking inside; unfortunately, he

plunged in and collapsed for a long time.

 45

Figure 6: White rabbit, Alice’s Adventures in Wonderland (2015-P: 8)

This diagram has been used to present the content of the mysterious realities as

the Rabbit, an animal, can communicate with humans and even dress like humans. Alice

also has the ability to talk to animals and even fall into a deep well without getting hurt.

Alice’s Adventures in Wonderland painter (2015-P: 8) did not see the need to change this

figure from the original text as its purpose and the original author were the same as his.

4.3.2. Example 8

In the example of Alice’s Adventures in Wonderland (2015-P: 12), there is a girl

who is wearing a veil and holding a veil while looking at a small door that is closed. The

rabbit had gone through there and gone the other way. The girl in this model, Alice’s

Adventures in Wonderland (2015-P: 12), is Alice. Alice could not fit in there because of

her height. Alice is in a house that has insufficient space.

 46

Figure 7: Alice, Alice’s Adventures in Wonderland (2015-P: 12)

The content of the curiosity is illustrated in this figure through the character Alice

who is curious to know where the character Rabbit went. In the original text of Alice’s

Adventures in Wonderland (2011-P: 8), the author has used the analogy with Alice’s

Adventures in Wonderland painter (2015-P: 12) and thus created the content of curiosity.

4.3.3. Example 9

In Figure Alice’s Adventures in Wonderland (2015-P: 13), a girl is standing near a

table holding a bottle labelled 'DRINK'. This girl is Alice. Alice was afraid to drink the

drink for fear it was poisonous. However, after reading the instructions for the drink, he

noticed that it was not toxic.

Therefore, Alice tasted the drink, found it very tasty, and tasted of a mixture of

red cherries, faluda, pineapple, roasted duck, toffee candy, and butter-toasted bread. After

drinking the drink, his height dropped, and he was able to pass through that small hole.

However, the thing of disappointment, Alice had forgotten the key to that door on the

table, which she could not reach at the time. This figure has created fantasy content and

curiosity. Girl Alice finds a bottle labelled KINYWE and follows the instructions to find
 47

out what will happen next and thus creating a curious content. Likewise, the change in

height after drinking the drink conveys the fantasy content as it is not uncommon for any

servant to drink, and then his height changes.

Figure 8: Alice, Alice’s Adventures in Wonderland (2015-P: 13)

In addition, in Alice’s Adventures in Wonderland (2015-P: 13), there is the

creation of travel content. Character Alice is on a journey to find the Rabbit Rabbit, and

his journey has been marred by the turmoil of strange reality. Moreover, Bluestone

(Bluestone, 1957), Goodman (Goodman, 1976), Andrew (Andrew, 1984), and Starrs

(Starrs, 2006) agree that the key to success is storytelling. Hutcheon (2013) adds that the

narratives in the story can be summarized, and even its plot is twisted (Hutcheon, 2013).

In addition, storytelling can be re-created, and time is shortened or narrowed.

However, it is impossible to change the perspective of a story because doing so can

produce a new story. Narrative Theory states that the perspective of a story cannot be

changed as by doing so, a different story will be born. In the story of Anne of Green

Gable (2011) (Mullarkey, 2011) and Alice’s Adventures in Wonderland (2015), it has

been noted that painters have used similar illustrations, that is, cartoons of panels.
 48

Relationship

The unmarried siblings Matthew and Marilla Cuthbert, who reside on their family

farm in the little Canadian town of Avonlea, are first introduced to the reader as the novel

begins. At 60, Matthew is too elderly to operate the farm, Green Gables, effectively. To

help them on the farm, Matthew and Marilla decide to adopt an orphan kid. Mrs. Rachel

Lynde, the village gossip, is horrified to learn that the Cuthberts have adopted a boy since

she thinks they are capable parents.

When Matthew arrives at the railway station to pick up the youngster, he is

surprised to see a girl there instead. It seems that Matthew is scared of women. In error,

the orphanage sent 11-year-old Anne Shirley rather than the boy. The girl charms

Matthew with her engaging personality and outgoing demeanor. Marilla learns that

Matthew desires to retain the girl. Marilla is initially wary, but after some time, she

decides Anne may stay.

Despite coming from genuine poverty and adversity, Anne is a lively and pleasant

young lady. She missed these teachings, though, and as a result, she lacked social grace

and a good education. Her vibrant imagination and kind heart appear to make up for this.

Anne often acts in ways that do not seem appropriate for a young girl since she prefers to

follow her instincts to the rigid rules of social manners.

She wears wildflower wreaths while attending church. She attacks Mrs. Rachel

and scolds her for making fun of her red hair. Even though Anne makes an effort to abide

by the guidelines set forth by Marilla, she still commits errors. She makes vanilla cake

using the incorrect components. The plum pudding is where she lets a mouse drown.

Before going to bed, she even tries to say a prayer, but it turns out to be very absurd.
 49

Anne has never had any playmates, so she creates imaginary friends. She meets

Diana Barry while residing at Avonlea, and the two quickly become friends. Anne invites

her new acquaintance to visit Avonlea and gives her current red wine by accident rather

than the non-alcoholic raspberry cordial. When Diana arrives home severely inebriated,

her partner forbids her from ever seeing Anne again. This separation continues long

before Anne intervenes to save Diana's sister. Following this, Diana's mother decides to

forgive her.

CHAPTER 5: CONCLUSION AND RECOMMENDATIONS

The purpose of this dissertation was to identify the types of illustrations used in

the story of both classic and modern stories and their contribution to the development of

the message. This research objective is achieved in the fourth chapter of the dissertation.

This study has identified the types of illustrations used in selected books. Some of the

illustrations identified in the study were; cartoons, maps, painted pictures, and drawings.

In addition, it has been noted that the image, which is a type of figure, is not used in the

selected books.
 50

For example, it is evidence that, for this purpose, illustrations can be used to

convey the message written in a text. Illustrations can simplify and even expand the

understanding of further texts and thus achieve the goal of the author and the painter. In

addition, misuse of illustrations may contribute to the misunderstanding of the message

intended by the text writer.

The second objective was to explore the challenges and solutions to the

representation of the illustrations emerging in children's novels, classic, and modern

stories. This goal is discussed in chapter four and identifies the following;

First, challenges arose from the use of illustrations. These challenges could be

explored by highlighting critical aspects of children's literature such as; illustrator of

children's literary illustrations, picture and text ratios, character depictions through

illustrations, story and ending themes, and colour usage. From this study, it is clear that

children's portrait painters alter the characters in the story and thus spark a

misunderstanding, especially about a particular character. Regarding image and text ratio,

it is clear that some illustrations are not consistent with the text and thus create confusion

in the understanding of the text. Similarly, the depiction of characters through

illustrations is set in a way that combines some illustrations. This is because; realism does

not exist and, thus, confuses the target of the story. In addition, some of the themes also

contribute to the controversy because they are not realistic. Lastly, it is about the misuse

of colour. In children's novels, classic stories, and modern stories, the use of colour is not

considered, and thus poses a challenge; for example, dolphins are painted while flying in

the sea of roses.

 51

Based on the research, the illustrator of the literary illustrations should make sure

that the characters' personalities do not change to bring that confidence in the character.

Concerning the correlation between pictures and text, research suggests that the

illustrations should interact with what is being said in the text. For example, research has

shown that in children's novels, classic stories, and modern stories, there would be an

interplay of pictures and text. Suppose the artist would draw a picture that depicts the

characters. Similarly, with regard to the portrayal of characters through illustrations,

research has shown that the painter needs to be careful to prevent arguments such as why

a particular character has no legs, no use of colour, and even the disappearance of realism

in his characters. The themes in children's stories should be realistic to be trusted. Finally,

the use of paint should be carefully considered to avoid ambiguity. Research has shown

that if the use of colour will work well, the content may be easily understood, and even

the literary work will draw the child's attention, especially when reading the story.

Research has shown that some illustrations do not match the text and therefore do

not contribute anything to the text. Regarding the depiction of characters through

illustrations, some of the illustrations do not correspond to what is written in the text; for

example, in Alice’s Adventures in Wonderland (2011), the candies distributed by the

character Alice are not drawn. Moreover, the shapes of the characters depicted are not

perfect. Furthermore, some of the themes in Alice’s Adventures in Wonderland story

(2015) do not depict the issues in the text and thus contradict the figure. For example, the

theme has no realism. Similarly, in the selected story, the artist has used white and black

paint in all his illustrations in contrast to the files where he has used the colours. Misuse
 52

of colours in children's novels, classic stories, and modern stories has raised questions,

such as drawing the black sea in Alice’s Adventures in Wonderland (2011).

Based on the findings of the study, the illustrator in ANIA (2015) was qualified to

depict illustrations that interact with the text to contribute to the creation of the target

message. In addition, the artist would use the text primarily to depict the characters

through his illustrations. For example, the painter would draw candy Alice gave to the

participating animals to match the text ideas with those of Alice’s Adventures in

Wonderland (2011). Likewise, the theme should be in harmony with the text and be

realistic. The illustrations should consider the color issue to easily pass the target

message. However, the Alice’s Adventures in Wonderland (2015) illustrator has been

successful in graphic design, as its characters do not change their shape from one image

to another. In conclusion, there is a need for the issue of the representation of illustrations

to be given more attention if painters depicting children's works continue to emerge with

works of high-quality architecture.

Techniques such as language, its use, story plot, content, and format of the book

have shown that they can achieve or challenge presentation, so the author needs to be

careful how they complete their work. The different editions of these children's stories

have distinct inclusion of illustrations to meet the changing culture and environment of

the audience. These aspects make these books relevant when evaluating the individual

relevance of images and texts in providing a connection between the readers and their

environment. Therefore, while the two books seem distinct, their application of

illustration by using both words and images transforms relatively consistently to meet the

adjusting social transformation. The authors tend to implement the transformation of their
 53

illustration with the changing environment while maintaining the narratives' primary

objectives.

5.1. Research Recommendations

This study focused on the representation of illustrations on how they contribute to

the presentation of messages by evaluating selected children's literary narratives. This

research has been done in a library. Other research can be done in the field by

highlighting other branches of literature, such as; drama, written poetry, or children's

short stories.

In addition, the presentation topic is broad. Therefore, further research can be

done to further this research by highlighting the following topics: Analysis of film

representation in picture novels in children's literature. Evaluation of coloured

illustrations in selected and final presentations, space for the representation of

illustrations in children's literature: After children's literature included in the 2002

curriculum.
 54

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