In the preceding three chapters, each phase of Campbell’s journey was applied to analyse our collection of picture books about refugees. This final chapter considers how our analysis has answered the research question put forth in Chap. 1 , ‘What visible and invisible narratives are conveyed through children’s picture books about refugee experiences?’ The chapter begins by discussing the narratives that have been conveyed through children’s picture books about refugee experiences, with visible narratives highlighting those aspects of refugee experiences that accord with the aspirations of the societies and communities that receive refugees. The invisible narratives similarly reflect the values and ideals of host communities albeit in more subtle ways. Our argument is that both types of narrative legitimise refugee experiences and make them intelligible for children. However, it is the invisible narratives that reveal these picture books as social commentaries on refugee crises as well as exposing the limitations of this genre. The chapter concludes with some suggestions for future research and some observations about this genre of books overall.

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Discussion and Conclusion

  • Eseta Tualaulelei,
  • Martin Kerby,
  • Margaret Baguley,
  • Alison Bedford

摘要

In the preceding three chapters, each phase of Campbell’s journey was applied to analyse our collection of picture books about refugees. This final chapter considers how our analysis has answered the research question put forth in Chap. 1 , ‘What visible and invisible narratives are conveyed through children’s picture books about refugee experiences?’ The chapter begins by discussing the narratives that have been conveyed through children’s picture books about refugee experiences, with visible narratives highlighting those aspects of refugee experiences that accord with the aspirations of the societies and communities that receive refugees. The invisible narratives similarly reflect the values and ideals of host communities albeit in more subtle ways. Our argument is that both types of narrative legitimise refugee experiences and make them intelligible for children. However, it is the invisible narratives that reveal these picture books as social commentaries on refugee crises as well as exposing the limitations of this genre. The chapter concludes with some suggestions for future research and some observations about this genre of books overall.