By David Merrell, Tony Abbott
With approximately 2 million books in print, this Little Apple sequence is H-O-T, sizzling. the bottom line is out - DROON is the sequence that children, mom and dad, and academics are speaking approximately! Ko is again in energy -- and not anything in Droon is secure! His beasts have chanced on a lightning-powered submarine hidden within the mystery citadel of the Treasure Queen. Now Eric and his pals need to cease Ko prior to he destroys Jaffa urban. yet first they'll need assistance from their worst enemy -- Lord Sparr. If he could be depended on . . . .
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The key is out -- DROON is the sequence that youngsters, mom and dad, and lecturers are conversing approximately! And with an attention-grabbing new layout and canopy results, this can be the booklet fanatics were watching for. Eric and his buddies have confronted off opposed to Lord Sparr time and time back. They've befriended him as child Sparr and battled him as an old sorcerer.
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Additional resources for The Fortress of the Treasure Queen (Secrets of Droon, Book 23)
Finding a worldview repeatedly confirmed in fairytales which was optimistic and active-oriented, children would adopt a system of ethical beliefs and a sound grounding for being able to cope with potential difficulties in life. This repositioned approach opened not only the door for easier publication of German fairytales, but also those of many other countries or continents. With an emphasis on internationalism, the fairytale was discovered as a tool to convey the idea of uniting nations. By pinpointing similarities and differences between peoples it was hoped to dismantle past prejudices and to build international understanding.
Children’s literary planning and development was, after all, a prescribed social task. Hence, children’s authors wrote books, the majority of which followed a clichéd, schematic black-and-white pattern, with purely didactic intent and in which the ‘real’ reality was not discernible. The reverberations from the Bitterfeld conference manifested themselves also in literature for young people. Although the number of children’s production novels was nowhere near as high as in adult literature, attention was paid to making children aware of this part of socialist reality.
Referring to the majority of the books of the past decade, their “simplistic unambiguous portrayal of [fictitious] child activists who do not possess inner conflicts and who understand intuitively, even at the beginning of the story, that their happiness lies in their work within the collective” was identified (Richter 1995b:293). It was pointed out that (real) children had reached a higher level of consciousness and that children’s fiction had not kept pace with their development and intellectual growth.