Seite - 89 - in JRFM - Journal Religion Film Media, Band 04/01

Representations of Religion and Culture in Children’s Literature | 89www.jrfm.eu 2018, 4/1, 81–99 In this case, own and foreign identities are not illustrated by characters that differ in national, religious or cultural ways, but by figures that represent dif- ference in terms of generations. Huda depicts what intended recipients would recognise, whereas Huda’s grandma illustrates otherness. Ques- tioning and responding exhibit nesci- ence, as do also visual illustrations. The story “Lili und das chinesische Frühlingsfest” exemplifies the charac- terisation of own identities inasmuch as Emma is always depicted as unin- formed and curious about the host’s Chinese traditions (figs. 6–8). CULTURE AND CULTURAL IMAGINARIES The term “culture” is often used im- precisely in both academic and popu- lar spheres. However, culture is a con- cept frequently used in contemporary children’s literature in connection with religion and migration, employed to represent differences between own and foreign identities. Here the analysis focuses on the production of cultural meaning in light of the cultural imaginary. According to Hall, a group’s identity is based on shared meanings that distinguish members of one group from members of another group.23 Elena Croitoru notes, The cultural imaginary can be said to make up for the loss of the sense of be- longing, thus leading to the concepts of a nation as an “imagined community” (nationhood) and identity. Therefore, cul- tural imaginary is socially constructed to suit the needs of a community, of a particu- 23 Kramer 2008, 272. Fig.6–8: A facial expression of nescience and admiration in Yu-Dembski/Leberer (illust.), Lili und das chinesische Frühlingsfest (n. pag) © Carlsen Verlag GmbH, Hamburg 2011.