Abstract
Guided by Vygotsky’s zone of proximal development, this article examined whether characters in emotion picture-books express and talk about emotions in ways that are consistent with theory and research on children’s emotions. In general, we found that picture-books recommended by experts in social-emotional development contain content that is fairly consistent with published research in early childhood. We also found parents’ reading of the picture-books was consistent with the content analysis, even though we recorded their spontaneous emotion-based language in addition to the text presented in the picture-books. The findings also suggested that reading of emotion picture-books may increase preservice teachers’ references to emotions, which could translate into greater use of emotion language in the early childhood classroom. Results are discussed with regard to the role of picture-books as an important source of emotion-related information for children, parents, and teachers.
Picture-books are an important media source for young readers, as children learn to recognize pictures long before they develop an understanding of text (Moerk, 1985). Much of the research on this topic has focused on the role of picture-books as an educational resource for promoting young children’s cognitive development (Chiong and DeLoache, 2013). However, in addition to stimulating language and encouraging an appreciation for reading, engagement with picture-books also contributes to children’s knowledge about the world (Anderson and Hamilton, 2005; Bus et al., 1995) and offers opportunities for them to meet and participate in meaningful social exchanges with fictional characters (Lysaker and Tonge, 2013). The utility of picture-books for teaching children about many topics, including preschool and kindergarten adjustment, coping, poverty, race, and other forms of individual and family diversity has also been demonstrated (Kelly, 2012; Kelley and Darragh, 2011; Koss, 2015; Phillips and Sturm, 2013; Smith-D’Arezzo and Thompson, 2006; Wee et al., 2015).
Picture-books frequently address the emotional experiences of story characters and, therefore, also provide an important context for learning about emotions and how to regulate them (Garner, 2010). For example, young children often identify with and share the emotions of story characters that provide examples of how emotions are used in social exchanges (Anderson and Hamilton, 2005; Doyle and Bramwell, 2006; Lysaker and Tonge, 2013). Engagement with picture-books can also provide opportunities to develop solutions to emotional challenges without the burden of in-depth verbalization and interpretation (Cole and Valentine, 2000). Children whose parents frequently ask them to focus on and talk about emotions during shared book reading are more likely to respond with prosocial affect and behavior in response to a needy adult (Brownell et al., 2013). In addition, mothers’ empathy-related statements and explanations of emotions during shared reading of an emotion picture-book is associated with children’s emotion situation knowledge (Garner et al., 1997). Unfortunately, picture-books have largely been neglected as a forum for emotion socialization (Nikolajeva, 2013).
In this study, we examined whether characters in emotion picture-books express and talk about emotions in ways that are consistent with theory and research on children’s emotions. In doing so, we recognize the three elements of shared picture-book reading: the child, a book, and an adult (Fletcher and Reese, 2005). These elements interact to create a unique experience that is dependent upon gender, culture, skill-level of the readers, and complexity of the book itself. Our research is guided by Vygotsky’s zone of proximal development, which asserts that learning and development is enhanced through shared activities with adults and/or their more competent peers (Vygotsky, 1978). Picture-book reading is an activity that offers children the opportunity to engage with a more experienced individual who can encourage learning by labeling, commenting about or explaining the content or story, and asking questions (Vandermaas-Peeler et al., 2009, 2012).
Our study centered on books recommended by doctoral-trained experts in emotional development instead of relying solely on lists of award-winners, best-sellers, or those chosen for book reviews. Best-seller lists can sometimes be a measure of popularity rather than quality (Fitzsimmons, 2012) and award-winning books often fail to account for the diversity of the population (Kurz, 2012). Finally, lists compiled from these sources may contain books that depict emotions according to commonly held beliefs that may not be commensurate with research on positive emotion socialization practices, an issue central to our research aims.
Emotional competence
A lexicon for internal states appears sometime during the first year of life (Repacholi and Gopnik, 1997). During toddlerhood, children demonstrate a capacity for empathy and independent emotion regulation (Garner and Dunsmore, 2011). By age three, children express and understand all of the primary/basic emotions and demonstrate knowledge of the causes and consequences of emotions (Denham et al., 2009). In this study, we hypothesized that words/illustrations describing emotions, internal states, and empathy would appear more often than comments and explanations of emotions. Regarding gender, females report expressing more emotion overall than males during interactions with children (Cassidy et al., 1992). However, boys display higher rates of anger (Fabes and Martin, 1991), and adults are more accepting of anger for boys and sadness for girls (Zahn-Waxler et al., 1991). We expected to observe the same pattern in the surveyed emotion picture-books.
We also investigated whether the emotion-related content of the picture-books was associated with sociodemographic characteristics of authors and story characters (Brown et al., 2015). Given that authors/illustrators of picture-books tend to be White and female (Koss, 2015), we expected to find a similar result when examining picture-books focused on emotions. Although there has been a trend to include more diverse characters in picture-books, minority and economically disadvantaged characters are rarely represented in children’s literature (Edmonds, 1986; Jones, 2008; Pescosolido et al., 1997). Even when diversity is considered, picture-books often inaccurately reflect demographic heterogeneity (Kelley and Darragh, 2011), particularly in terms of race and socioeconomic status.
Also of interest was whether the picture-books were simple or complex. According to Sierschynski et al. (2014), complexity refers to the nature of the text itself, not to be confused with difficulty, which has to do with reader involvement and skill. As such, understanding the level of complexity of a picture-book requires attention to specific elements, including consideration of the congruency between text and illustrations and, in the case of emotion picture-books, the portrayal of basic versus complex emotions. Basic emotions have associated prototypical facial expressions (e.g. happy, sad, anger, fear), and are first used in early spontaneous speech (Bretherton and Beeghly, 1982). Complex emotions are socially derived (e.g. pride, hostility, embarrassment) and understanding them in the context of a picture-book requires the reader to integrate emotion-related dialogue, illustrations of body postures, and situational determinants of emotion in addition to prototypical facial expressions. Complex picture-books may portray intangible, private, or internal emotions (Wellman et al., 1996), which may encourage extensive dialogue between the narrator and the child. Accordingly, we expected that simple picture-books would elicit simple emotion talk (i.e. labeling or commenting about emotions and internal states) and that complex books would be especially likely to include explanations of emotions.
Adults’ reading of emotion picture-books
In accord with Vygotskian theory, and because books provide a unique opportunity for adults to help children access their own emotions and those of story characters (Cartledge and Kiarie, 2001), we invited parents to sample the picture-books with their children, as adults often add their own emotion-related dialogue to supplement the text. Teachers also frequently use picture-books as a context for teaching children about emotions (Sigmon et al., 2016) and their use may facilitate teachers’ own competence in this area. Thus, we evaluated whether preservice teachers’ participation in a child development course infused with social emotional learning (SEL) content could be used as an intervention and support for them to learn about the use of emotion picture-books in the classroom.
Method
Picture-books were selected based on lists from Zero to Three, the Social and Emotional Foundation for Early Learning at Vanderbilt University, and the Lucy Daniels Center, a nonprofit organization devoted to promoting children’s emotional development. We also searched for expert-recommended picture-books in scholarly sources (Cooper, 2007; Crawford, 2014; Gallingane and Han, 2015; Hansen and Zambo, 2005; Knowles and Smith, 2007; Nikolajeva, 2012; Zeece, 2000, 2004, 2006, 2009). In all, 137 books met the criteria of being an emotion picture-book. However, we included only those books that could be obtained within 6 months. Our sample of 85 is comparable to that reported in similar studies (Flanagan et al., 2013; Oppliger and Davis, 2015). Because librarians play such an important role in working with parents and teachers to locate books (Williams and Bauer, 2006), we compared our list with one compiled from a survey of public librarians across five metropolitan libraries who were experts in children’s literature. A total of 51 books appeared on the combined lists. For the sake of space, we do not duplicate already published lists. Through several iterative and interactive sessions, a coding manual was developed. Coders met bi-weekly for 4 weeks to review the manual and to develop a cohesive understanding of codes.
Two developmental experts also evaluated approximately one-third of the books using the Cianciolo (2000) criteria for evaluating picture-books. Ratings focused on (1) emotion explanations, (2) appeal to a wide age range, (3) presence of cultural stereotypes, (4) presence of imaginative and stimulating content, (5) organization, and (6) attractiveness and readability, using a 3-point scale with “1” indicating not at all present, “2” moderately present, and “3” often present. Interrater agreement was .81. Elements were highly rated, with the exception of presence of cultural stereotypes, which received a low rating (Table 1).
Expert ratings of selected books (N = 30).
M: mean; SD: standard deviation.
Variables
Emotion constructs
Text/illustrations depicting and describing emotions, emotion explanations, and empathy are common in picture-books (Drummond et al., 2014). Following Garner et al. (1997), we were interested in the number of words/illustrations that described emotions. As noted above, sometime in the third year of life, children become able to understand explanations of emotions (Denham et al., 2009), which were also of interest. Examples include “Spike just had to say goodbye. He feels like he wants to cry” and “Something that makes me feel scared is being alone in the dark.” We also coded empathy-related language (e.g. “When you are sad, I feel sad too”). Also of interest were words/phrases describing physiological states (e.g. hungry, sick, tired) and sociomoral states (e.g. good, bad, nice, naughty; Bretherton and Beeghly, 1982; Brownell et al., 2013). Tables 2 and 3 present descriptive data for these variables.
Descriptive statistics for emotion-related variables as presented in picture-books (N = 85).
M: mean; SD: standard deviation.
Descriptive statistics for emotion-related variables in relation to adult male and female characters (N = 85).
M: mean; SD: standard deviation.
Demographic characteristics
We recorded gender and race/ethnicity of authors and story characters using Cengage’s “something about the author” website (cengage.com). For authors not included, we used authors’ personal websites to gather information. Coders made note of whether, page by page, males and/or females were portrayed in the story (alone, or with or without a boy and/or a girl). We noted gender characteristics in illustrations and, when present, the use of gender-specific language (Crabb and Bielawski, 1994; Weitzman et al., 1972). Not every character was coded for gender, as it was sometimes impossible to discern. Coders also noted evidence of income, occupation, employment status, education, geographic locale, mobility, and/or family structure (Chafel et al., 1997; Streib et al., 2016).
Picture-book characteristics
Picture-books were categorized as simple if they had limited text or few items in the illustrations, text and illustrations were congruent, and there was repetition within and across the page(s). In contrast, picture-books that contained text and illustrations that combined in ways that were ambiguous, ironic, and/or contradictory were coded as complex. These books offer opportunities for the participating adult to clarify information or otherwise engage the child (Nikolajeva, 2013; Serafini, 2005; Sierschynski et al., 2014). Using the aforementioned criteria, we categorized 35 books as simple and 50 as complex. One book categorized as simple contained a page that read “boo hoo,” and was accompanied by an illustration that depicted a large face of a crying child. One of the complex books included a page that read “I want to play with you right now. I don’t think taking turns is fair.” Average word count per page was 8.23 (standard deviation (SD) = 6.05). Interrater reliability was determined by having raters independently code approximately 20 percent of randomly selected books. Cohen’s kappas ranged from .78 to 1.00 (mean kappa = .85) and prior research has validated coding categories and procedures (Tepper and Cassidy, 1999).
Parent participants
After obtaining Institutional Review Board approval, a group of parents was recruited to read a subset of 16 books (approximately 20%) chosen from the larger set to be comparable in number of pages and emotion-based text/illustrations. We used random assignment to designate the chosen books to parents. Eight parents, including two White males, two African American females, one African American male, one Latina American female, one Latino American male, and 1 White female, were videotaped reading two picture-books to their young children. Appendix 1 includes an example of a parent-child book reading interaction.
Preservice teachers
We also recruited 28 preservice teachers from an early child development course offered at a large university located in the mid-Atlantic region of the United States. Participants were third- or fourth-year female undergraduates whose ages ranged from 20 to 26. Of them, 21 students were White, 4 were Black, and 3 were Asian. Each student was assigned an expert-recommended picture-book to read at the beginning and end of the semester. At least one-third of the course content was devoted to SEL concepts, including an introduction to Jennings and Greenberg’s (2009) Prosocial Classroom model, emotion-related constructs, such as understanding and regulation of emotions, relationship-building with colleagues and children, and problem-solving. At both time points, students (1) defined picture-books, (2) listed their distinctive features, (3) provided examples of high-quality picture-books, (4) discussed their beliefs about the utility of picture-books for learning, and (5) listed ideas for how to use them (Martinez and Harmon, 2012). Two researchers independently coded the transcriptions and interrater reliability ranged from .76 to .92 and averaged .88.
Results
Content of the emotion picture-books
Most books (70%) focused specifically on emotions more generally and 30 percent presented emotions in relation to making friends, prosocial behavior, or bedtime issues. In all, 71 percent of the books were written in 2000 or later. Women wrote 73 percent of the books, men authored 22 percent, and 5 percent were co-authored by men and women. Of the authors, 94 percent was White, 1 percent was Black, and 1 percent was Latino. The race/ethnicity of three authors was unknown. A total of 69 books contained White characters, 47 percent included Black characters, 32 percent comprised Asian characters, 8 percent included Latino characters, 2 percent included characters explicitly identified as bi-racial, and 1 percent focused on Native Americans. We could not identify the racial/ethnic background of characters in 1 percent of books. The totals did not sum to 100 percent because of overlaps.
Overall portrayal of emotions
Neither word count per page nor complexity was associated with the emotion variables (ps > .43) and, thus, these variables were not considered further. We conducted t-tests to examine whether mean-level differences existed among the measures. A Bonferroni corrected alpha .01 was used for pairwise comparisons. Emotion words/illustrations appeared more frequently than internal states, t(84) = 8.85, p < .001, and empathy, t(84) = 8.61, p < .001. Emotion explanations appeared more frequently than internal states, t(84) = 11.99, p < .001, and empathy, t(84) = 11.36, p < .001. We were unable to provide precise data about valence as most books focused on multiple emotions.
Gender of the picture-book characters
Adult females appeared solely in 54 percent of picture-books and adult males appeared (with females) in 41 percent, χ2(2) = .49, p < .001. There was also a significant effect for adults interacting with girls. A total of 19 percent of the books contained pages that portrayed adult females interacting with girls and 11 percent contained pages depicting males interacting with girls, χ2(2) = .39, p < .001. There was also an overall effect of females’ presence, coded as “0” (not present) or “1” (present) on the emotion measures, F(8, 158) = .54, p < .04; Wilk’s Λ = 0.92, partial η2 = .04. Follow-up analysis of variances (ANOVAs) indicated that empathy was more likely when adult females were present, F(2, 82) = 1.61, p < .04. Surprisingly, internal states were more prevalent when adult females were not present, F (2, 82) = .47, p < .02 (see Table 2). When adult males were portrayed with boys (15 books), there was an overall significant effect, F(8, 158) = 2.22, p < .03; Wilk’s Λ = 0.81, partial η2 = .10. Empathy was also more likely when adult males appeared with boys (M = .78 vs .10; SD = 1.31 vs .34); F(2, 82) = 7.39, p < .001.
We also examined whether the presence of males and females and boys and girls was associated with type of emotion. The only significant finding was that females’ presence with boys was associated with emotion type, χ2 (4) = 16.60, p < .002. To determine which variable produced the effect, residuals were converted to z-scores and compared to a critical value equivalent to the alpha. The corrected p value was set at .01, which corresponds to a critical value of ±2.58. Standardized residuals that have a positive value indicate that the cell was overrepresented compared to the expected frequency. Similarly, a negative value mean is indicative of a cell that is underrepresented in the sample compared to the expected frequency. The standardized residual of 2.9 was larger than the critical value of 2.58, which suggests that anger was more likely to be discussed/portrayed when adult females were portrayed interacting with boys (83.3% vs 16.7%). Race/ethnicity of the characters was unrelated to type of emotion, but emotion explanations were more likely when indicators of affluence were present, F(1, 83) = 4.66, p < .03.
Parent data
Parents labeled emotions (M = 5.06, SD = 3.55) more than they explained (M = 1.56, SD = 1.21), t(15) = 3.87, p < .002, or asked questions about them (M = 1.63, SD = 1.87), t(15) = 3.44, p < .004. Internal states appeared less frequently (M = .56, SD = .81) than labels t(15) = −4.47, p < .0001, explanations, t(15) = −3.04, p < .01, and questions about emotions, t(15) = −2.35, p < .03. Parents referred to happiness and anger more often than fear, t(15) = 2.78, p < .01, and t(15) = 2.21, p < .04, respectively.
Data from preservice teachers
We next performed a chi-square analysis to determine if reading of picture-books amplified or diminished preservice teachers’ references to emotions across the two time points. The proportion of responses that contained references to emotions increased across the two time points (.06 vs 20), χ2 = 5.13, p < .04.
Discussion
Young children’s literature frequently contains references to emotions and internal states. In this study, we found that picture-books recommended by SEL experts contain content that is fairly consistent with published research on emotional development in early childhood. Overall, our results suggest that shared reading of books with emotion-based content may help children learn to identify their own and others’ emotions and how to use this information to engage others and regulate their behavior (Beazidou et al., 2013).
Primary emotions appeared more frequently than internal states or empathy, a finding that parallels research indicating in that young children’s emotion understanding appears mainly in the form of affective labels (Cervantes and Callanan, 1998). Language for primary emotions may be necessary before children can integrate complex elements of cognition to explain emotions (Vallotton and Ayoub, 2011). Children begin to use terms for primary emotions and internal states during toddlerhood (Bretherton et al., 1981), behavior that precedes their understanding of causes and consequences of emotions (Denham et al., 2009). We did not expect to find that emotion explanations would appear more frequently than internal states and empathy. Use of primary emotion terms may represent rudimentary self-understanding, moral awareness, and emotion regulation ability (Bretherton et al., 1986), even if terms for empathy or other secondary emotions are not used. Empathy understanding appears to require knowledge of advanced rather than simple or primary emotions. Although the capacity for empathy emerges during the toddler years (Zahn-Waxler et al., 1992), children may have difficulty understanding the specific words that describe this emotion. It may also be difficult to convey and communicate empathy in text/illustrations in young children’s literature.
We also found that empathy was frequent when adult females were present. Gender differences favoring females in empathy across varying types of measures have been consistently reported (Thompson and Voyer, 2014). Notably, fathers’ participation in childcare, independent of empathy, positively predicts their children’s empathy development (Bernadett-Shapiro et al., 1996). The way that authors represented men and their emotions may not reflect contemporary norms or research on fathers’ affective involvement with their children. Interestingly, internal states were more prevalent when adult females were not present. Mothers use more internal state language during mother–father–child triadic interactions with toddlers and preschoolers (Jenkins et al., 2003). In the previous study, three types of internal states were considered, whereas this study focused on internal states that referred to physiology because they were overwhelmingly prevalent in the surveyed picture-books. In retrospect, physiological internal states may not necessarily address the social and contextual factors associated with emotion (Wang et al., 2010).
Our data further demonstrated that anger was more prevalent when adult females appeared with boys. This finding is in accord with research portraying boys as more likely than girls to display anger during social interactions and parents being more accepting of anger displayed by boys (Chaplin et al., 2005), and as using more anger-related words with boys when talking about emotions (Fivush, 1989). Yet, most picture-books included mothers as the primary adult character. When mothers and fathers are the focus, fathers are especially attentive to boys’ anger (Chaplin et al., 2005). It will be important to continue to explore how male story characters display emotions in children’s literature.
Approximately two-thirds of the books portrayed White story characters. Although some books included characters diverse in race/ethnicity, some groups were underrepresented and even absent. Not only does comprehension improve when readers experience themselves in the books they read (McNair, 2013), picture-books may introduce topics and cultures that are not present in children’s daily lives (Moerk, 1985). Exposure to diverse characters can encourage attitudes of social justice and perspective-taking (Brown et al., 2015; Labadie et al., 2013; Zambo, 2011), which could even promote the development of empathy. On a related note, most authors were also White. Diverse characters may be more likely to be included in books written by authors from underrepresented groups (Clark et al., 2013). Yet, story characters’ race/ethnicity was generally unrelated to the emotion variables and experts rated the books as containing few culturally based stereotypes.
Emotion explanations appeared more often when story characters were affluent. Interestingly, higher income children score higher on emotion knowledge and regulation tasks than their more economically disadvantaged peers (Blandon et al., 2008). The language experiences derived from picture-books may be especially important for low-income children. Emotion picture-books that include only affluent characters could send the message that children experiencing economic disadvantage are not capable of understanding complex language about emotions and may even deprive them of important opportunities for learning about emotions (Montag et al., 2015).
Our study was also concerned with adults’ reading of emotion picture-books. Adults label emotions and other internal states more often during book reading than joint play or everyday conversations (Drummond et al., 2014). Picture-books can be used by adults to encourage children to acknowledge their feelings and to instruct them in social-emotional understanding (Symons et al., 2006). Our parent data were consistent with the content analysis, even though we recorded their reading of text/illustrations as well as spontaneous emotion-based language. Parents referred to happiness more often than fear and mentioned anger more often than fear. For young children, intense and sustained angry reactions are frequent and generally viewed as developmentally appropriate (Potegal et al., 1996). Carefully chosen picture-books can teach children responsible ways of managing anger. In line with Vygotskian theory, promoting children’s emotional competence through book reading requires the use of books that are within a child’s zone of proximal development (Al Otaiba, 2004), but challenge them to think slightly beyond their current competency (Dwyer and Neuman, 2008). The best of these books contain appropriate text and appealing illustrations and focus on a plot that emphasizes emotions as well as the compassionate and prosocial behavior of story characters (Mecca, 1998).
Early childhood professionals also play an important role in helping children to acquire emotion-related skills (Kitzman and Howard, 2011). However, a large proportion of teachers do not receive any training about how to support children’s emotional competence (Schonert-Reichl et al., 2015). In fact, a national survey of curriculum coverage of recommended quality standards in early childhood teacher education programs found that SEL coverage is relatively low (Buettner et al., 2016). Even so, teacher preparation programs often use picture-books to teach a variety of concepts to preservice teachers (Hansen and Zambo, 2005). Our research complements this work in that reading of emotion picture-books was associated with increases in preservice teachers’ references to emotions across the semester. An intervention offered within the context of a university course may encourage beginning early childhood teachers to apply their theoretical understanding of SEL to emotion picture-book reading interactions with young children. Instructing preservice teachers about how to facilitate children’s learning and development has proven helpful in other research (Hammett and Bainbridge, 2009) and these types of projects may even help improve the disparity between the backgrounds of beginning teachers and the students they serve (Johnston et al., 2007).
Limitations and conclusions
Overall, the findings suggests that expert-recommended picture-books can contribute to complex emotion conversations between young children and the important adults in their lives (Beazidou et al., 2013; Cole and Valentine, 2000) and, perhaps, facilitate emotional competence, self-confidence, and prosocial behavior (McNamee and Mercurio, 2007). We also learned that adults frequently exchange emotion talk with children during shared book reading, which may aid in the comprehension of emotions in relation to the story’s plot and may encourage active participation in the book reading session. This study, however, is not without limitations. The list of emotion picture-books analyzed was incomplete as most were published in the United States and written in English. Different results may have emerged if we had sampled emotion picture-books from other parts of the globe (Vander Wege et al., 2014). In addition, the picture-books we sampled were expert-recommended and the extent to which they are chosen by parents and teachers to read to young children is not known (Aram and Aviram, 2009). Moreover, the limited text associated with some picture-books allow the reader creativity in how they are read, making the specific emotion-related content of the book more or less important. In sum, emotion picture-books provide a unique opportunity to promote emotional competence and also provide a pathway for adults to learn about the importance of emotional literacy for children’s learning and development.
Footnotes
Appendix 1
Acknowledgements
The authors wish to thank the parents, children, and early childhood professionals who participated in this research for their cooperation. The authors are also grateful to the numerous research assistants who helped to collect the data described in this article.
Declaration of conflicting interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.
