In addition, the Dahlian children's books were written in the second half of the twentieth century. All aspects of child development can be improved by reading or using children's books. However, a number of children's literature reviewers, teachers and librarians objected to Dahl's books for children.
Short have pointed out the important role of children's literature in children's lives. Therefore, an argument in the subsequent part of the dissertation will elaborate on how Dahl's presented himself as an advocate for children in his children's literature. More importantly, the ultimate hope of the analysis is to promote awareness of children's rights.
Many critics point to the struggle between children and adults in Roald Dahl's children's stories. Roald Dahl's interpretations of wild scenes and lurid depictions of adult characters in children's books are incongruous.
CHAPTER TWO
DAHL’S PORTRAYAL OF CHILDREN’S OPPRESSION
The theory of child oppression, the physical and mental oppression of the children as depicted in Dahl's chosen stories, and the effects of the oppression of children are then discussed. Nevertheless, some social practices and legal actions had attempted to alleviate the problem of child oppression in the United States in the early twentieth century. He began writing children's fiction in the 1960s, during the second half of his writing career.
The turbulent meanings of children's oppression bring obstacles and uncomfortable conditions for all parties involved. Neglect is the consistent failure to fulfill the children's basic physical and/or psychological needs. The scope of the meanings of children's oppression seems to collectively integrate all definitions of every form of misdeed that the adults can inflict on the children.
As mentioned earlier, the oppression of children is fueled in part by deep-seated religious and cultural beliefs that children should be subservient to adults. 56 The oppression of children is deeply rooted in society and occurs constantly and with increasing frequency during the period when Dahl devoted himself to writing fiction for children. Physical oppression is reflected in selected children's stories by Roald Dahl through the relationships between child protagonists and adult antagonists.
This time the safety of the children, not their biological and physiological needs, is the focus of the story. Dahl's last children's work, The Minpins (1991), is very similar to The Giant Crocodile because, in addition to being a picture book, the social issue of children's physical safety is also addressed in the story. Throughout the ten selected Roald Dahl children's stories, the mentality of the child protagonists and the metaphors for the children have been destroyed in various ways by their adult villains.
However, when the children's needs conflict with those of the adults, they may refuse to obey and rebel against the adults' restrictions and demands. Tales of Childhood, the depiction of childhood oppression that pervades Dahl's writings for children, is initially influenced by the author's painful childhood experiences at boarding schools. Inspired by both these social incidents and his own personal life, various forms of child oppression were repeatedly incorporated into Roald Dahl's stories for children.
CHAPTER THREE
COPING WITH AND RESISTANCE TO OPPRESSION
PSYCHOLOGICAL MACHANISMS AND FANTASY AS A MEANS OF EXPRESSION IN DAHL’S CHILDREN’S
LITERATURE
Meanwhile, the power of adult status is executed by the emotions of these delinquent behaviors. These incidents seem to be completely forgotten because the horrific experiences are buried in the unconscious part of the soldiers' minds. It can be said that this defense strategy is stimulated to work under the same circumstances as when it is denial.
In the next section, Dahl's opposition to child oppression will be discussed from the child protagonists' reactions to the adult antagonists' abuse. The use of withdrawal by the children in The Enormous Crocodile is stimulated by their sense of fear. Like The Magic Finger, the defense mechanism of retaliation is employed by the children to deal with oppression once again in The Twits.
Consequently, it seems that the children's resistance to the adults' oppression is also reasonably exacerbated in the story. Unlike the child characters in the preceding Dahlian stories, it is noticeable that the children who are oppressed in Matilda tend not to passively accept the oppression imposed on them. Readers can notice that all the nameless girl in The Magic Finger, Sophie of The BFG, and Little Billy of The Minpins do not submit to the adults' demands and orders.
The most obvious example can be perceived from the characterization of the child characters in Matilda. The transformation of the Dahlian child characters that represent the children of the twentieth century will be discussed more in subsequent chapters. Nevertheless, there is very little chance for the children to win their battles against the adults in the real world.
Not unlike the giants in the old stories, these giants' favorite food is the children.
CHAPTER FOUR
ROALD DAHL’S WORKS AS THE SURVEILLANCE OF CHILDREN’S RIGHTS
Fortunately for the children, the adults' view of the children has changed and developed over time. The thoughts of giving the children their rights have formed more concretely in the society. In other words, both children's and children's literature have always been marginalized due to the lack of the concept of childhood (Todres & . Higinbotham 5; Paul 181).
In fact, books were created to educate the children in the last days. Rights tend to be extremely demanded that they are sometimes given to the children for some advocates. 130 children's needs and demands, these supporters suggest that the children's freedom and autonomy should also be given to the children.
Unfortunately, parenting and disciplining children seems to be on the opposite side of the principles of such a theory of children's rights. This means that children cannot be controlled, taught or disciplined against their will, although these practices will be carried out in the children's best interests. Roald Dahl was certainly well aware of the benefits of reading children's stories.
Twits not only oppress the children or limit the children's freedom under their supervision. Contrary to the children's sanitary rules, Dahl undermines the general command of the children's health. Their voice is expected to be heard by the abusive adults to approve of the children's existence, including their strength and ability.
Unlike Dahl's previous story, the children's rights have been handed over to Little Billy, the protagonist of The Minpins, when the next Dahlian children's story starts.
CHAPTER FIVE
CONCLUSION
To advocate for vulnerable children, many of Dahl's children's stories expose how children's physical and mental conditions are destroyed by various forms of oppression. 159 In short, Dahl's children's stories are created from the original voice of the writer who deeply loves and fully understands and wholeheartedly sympathizes with his primary audience, children. Based on these logics, Dahl's children's works are expected to depart from traditional children's literature.
As in general postmodern children's literature, the typical gender roles presented in traditional children's stories have been transformed in the selected Dahlian stories. In general, it can be argued that Roald Dahl's children's stories represent the children of the second half of the twentieth century, the period commonly known as the postmodern era. Because the researcher is full of these scenes, he claims that Dahl's children's stories become rights-based and rights-oriented.
After tracing Dahl's opposition to violations of children's rights, it was found that children's right to survival, development and protection has been prioritized by this writer. In addition to survival rights, Dahl's stories also deal with important issues in relation to children's right to development. Children's problems mentioned in the stories are identical to those included in the framework of the Convention.
The writer's opposition to violations of children's rights is evident from the recurring theme of child oppression, which pervades all ten selected stories for children. In Dahl's children's stories, readers will find that the unkind actions of adult villains were condemned and punished. In order to make Dahl's dream world, a world without childish oppression, come true, fantasy is deliberately chosen as the literary genre of his writings for children.
The provision of the undesirable outcomes of granting the children with their unlimited rights, morbidity, problems and dangers are included in Dahl's children's stories.
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