AustLit
Is part of
Boy Bear
2004
series - author
picture book
(number
1
in series)
Issue Details:
First known date:
2004...
2004
The Boy, the Bear, the Baron, the Bard
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AbstractHistoryArchive Description
'A boy playing among the warehouses of London kicks a soccer ball into an abandoned theater. There he finds an enchanted cape that transports him back in time right onto the stage of one of William Shakespeare's plays! A comic romp through Shakespeare's London featuring an intrepid little boy, a friendly bear, and-in the role of dastardly villain-the Bard himself. What happens when a boy bursts through the curtain of a deserted theatre and onto the world's most famous stage? He lands on the Bard himself and the chase is on-through the streets of Shakespeare's London. This is a rare and inventive visual feast-a runaway story about a curious boy, a magic cloak, a grumpy bard, a captive bear and a baron bound for the chopping block.' Source: Libraries Australia (Sighted 13/10/2010).
Teaching Resources
This work has teaching resources.
Notes
-
A wordless picture book.
-
Named one of the New York Times 10 best illustrated books of 2004.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
In Search of the Great Australian (Graphic) Novel
2012
single work
criticism
— Appears in: Australasian Journal of Popular Culture , 16 February vol. 1 no. 1 2012; (p. 51-66) 'The critical acclaim enjoyed by such recent Australian graphic novels as Shaun Tan's The Arrival (2006) and Nicki Greenberg's adaptation of The Great Gatsby (2007) suggested that Australia had finally 'caught up' with the United States and Britain, by embracing the graphic novel as a legitimate creative medium, on a par with literature and cinema. The media interest generated by a succession of Australian graphic novels during recent years often implied that their very existence was a relatively new phenomenon. Accepting this premise without question, however, overlooks the evolution of the graphic novel in Australia, early examples of which - such as Syd Nicholls' Middy Malone: A Book Pirates (1941) - date back to the 1940s. Documenting how historical changes in the production and dissemination of graphic novels in Australia have influenced their critical and popular reception therefore creates new opportunities to explore a largely overlooked facet of Australian print culture. Furthermore, the study of the graphic novel in an exclusively Australian context provides a new perspective for re-examining the origins, definitions and, indeed, the limitations of the term 'graphic novel', and extends the parameters of the academic literature devoted to the medium beyond the traditionally dominant Anglo-American focus.' (Author's abstract)
-
Shakespeare Is Child's Play! : Picture Books As Theatre In Primary Classrooms
2011
single work
criticism
— Appears in: Practically Primary , June vol. 16 no. 2 2011; (p. 36-41) -
De-Colonising Shakespeare? Agency and (Masculine) Authority in Gregory Rogers's The Boy, the Bear, the Baron, the Bard
2009
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 19 no. 1 2009; (p. 59-68) 'Although Said is writing about literal geographies here as well as cultural mappings of them, I open with his claims in order to initiate my consideration of the ways in which 'Shakespeare' as a discourse (Freedman 1989, p.245) and Shakespeare's historical and geographical contexts have been made over into culturally-contested terrain within contemporary children's literature for the purposes of constructing and controlling social space and subjectivities.
Historically, both the discourse of 'Shakespeare' and the depiction of William Shakespeare as a character have been deployed as structuring logics for narratives about the inherent value of Shakespeare, and in turn, for discussions of not just the legitimacy but the necessity of young people's subordination of self to Shakespeare. Gregory Rogers's The Boy, The Bear, The Baron, The Bard (2004) not only participates in that tradition of children's literature which deploys Shakespeare as a colonising discourse but also disrupts the norms of the tradition in two important ways' (Author's abstract). -
Books Children's
2008
single work
review
— Appears in: The Courier-Mail , 23 - 24 February 2008; (p. 25)
— Review of The Boy, the Bear, the Baron, the Bard 2004 single work picture book -
Untitled
2006
single work
review
— Appears in: Books from Our Backyard : Must-Read Books from Queensland 2006; (p. 57)
— Review of The Boy, the Bear, the Baron, the Bard 2004 single work picture book
-
Flights of Fantasy
2004
single work
review
— Appears in: The Bulletin , 25 May vol. 122 no. 6422 2004; (p. 66-67)
— Review of Yardil 2004 single work picture book ; Reggie and Lu (and the Same to You!) 2004 single work picture book ; Ichabod Hart and the Lighthouse Mystery 2003 single work children's fiction ; The Boy, the Bear, the Baron, the Bard 2004 single work picture book -
Untitled
2004
single work
review
— Appears in: Australian Bookseller & Publisher , April vol. 83 no. 9 2004; (p. 46)
— Review of The Boy, the Bear, the Baron, the Bard 2004 single work picture book -
Power in Pictures
2004
single work
review
— Appears in: The Courier-Mail , 3 July 2004; (p. 6)
— Review of The Boy, the Bear, the Baron, the Bard 2004 single work picture book -
Bookshelf
2004
single work
review
— Appears in: The Advertiser , 4 September 2004; (p. 11)
— Review of Caruso's Song to the Moon 2004 single work picture book ; The Boy, the Bear, the Baron, the Bard 2004 single work picture book ; Yardil 2004 single work picture book -
Pleasure First
2004
single work
review
— Appears in: Australian Book Review , December-January no. 267 2004-2005; (p. 69-70)
— Review of There Once Was a Boy Called Tashi 2004 single work picture book ; The Boy, the Bear, the Baron, the Bard 2004 single work picture book ; The Great Montefiasco 2004 single work picture book -
The Genesis and Genius of Gregory Rogers' The Boy the Bear the Baron the Bard
2004
single work
criticism
— Appears in: Magpies : Talking About Books for Children , May vol. 19 no. 2 2004; (p. 4-6) -
Drawn to Book Art
2005
single work
column
— Appears in: The Courier-Mail , 4 October 2005; (p. 15) -
De-Colonising Shakespeare? Agency and (Masculine) Authority in Gregory Rogers's The Boy, the Bear, the Baron, the Bard
2009
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 19 no. 1 2009; (p. 59-68) 'Although Said is writing about literal geographies here as well as cultural mappings of them, I open with his claims in order to initiate my consideration of the ways in which 'Shakespeare' as a discourse (Freedman 1989, p.245) and Shakespeare's historical and geographical contexts have been made over into culturally-contested terrain within contemporary children's literature for the purposes of constructing and controlling social space and subjectivities.
Historically, both the discourse of 'Shakespeare' and the depiction of William Shakespeare as a character have been deployed as structuring logics for narratives about the inherent value of Shakespeare, and in turn, for discussions of not just the legitimacy but the necessity of young people's subordination of self to Shakespeare. Gregory Rogers's The Boy, The Bear, The Baron, The Bard (2004) not only participates in that tradition of children's literature which deploys Shakespeare as a colonising discourse but also disrupts the norms of the tradition in two important ways' (Author's abstract). -
Shakespeare Is Child's Play! : Picture Books As Theatre In Primary Classrooms
2011
single work
criticism
— Appears in: Practically Primary , June vol. 16 no. 2 2011; (p. 36-41) -
In Search of the Great Australian (Graphic) Novel
2012
single work
criticism
— Appears in: Australasian Journal of Popular Culture , 16 February vol. 1 no. 1 2012; (p. 51-66) 'The critical acclaim enjoyed by such recent Australian graphic novels as Shaun Tan's The Arrival (2006) and Nicki Greenberg's adaptation of The Great Gatsby (2007) suggested that Australia had finally 'caught up' with the United States and Britain, by embracing the graphic novel as a legitimate creative medium, on a par with literature and cinema. The media interest generated by a succession of Australian graphic novels during recent years often implied that their very existence was a relatively new phenomenon. Accepting this premise without question, however, overlooks the evolution of the graphic novel in Australia, early examples of which - such as Syd Nicholls' Middy Malone: A Book Pirates (1941) - date back to the 1940s. Documenting how historical changes in the production and dissemination of graphic novels in Australia have influenced their critical and popular reception therefore creates new opportunities to explore a largely overlooked facet of Australian print culture. Furthermore, the study of the graphic novel in an exclusively Australian context provides a new perspective for re-examining the origins, definitions and, indeed, the limitations of the term 'graphic novel', and extends the parameters of the academic literature devoted to the medium beyond the traditionally dominant Anglo-American focus.' (Author's abstract)
Awards
- 2005 shortlisted CBCA Book of the Year Awards — Book of the Year: Younger Readers
- 2004 shortlisted Aurealis Awards for Excellence in Australian Speculative Fiction — Children's Division — Short Fiction
- 2004 winner The New York Times Best Illustrated Children's Books
Last amended 28 Aug 2017 13:51:31
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- 1500-1599
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