In this chapter, the results of the quantitative and qualitative data analyzed from
English and Chinese award-winning picture books are discussed. English and Chinese
award-winning picture books in the last decade in terms of gender roles are examined
through a two-level analysis. The Level 1 Analysis is to examine cover information:
frequency counts of male and female characters in each book’s title and cover illustrations.
The Level 2 Analysis is to investigate gender elements displayed in illustrations and
written texts.
Results of the Quantitative and Qualitative Analysis
The Cover Information
The Level 1 Analysis was used to answer the first and second research questions of
present study. The first research question of this study was: How are gender roles
presented on the covers of English and Chinese award-winning picture books from 2003 to
2012? The second research question of this study was: Are there any differences in the
gender role portrayals on the covers of English and Chinese award-winning children’s
picture books changed over time from 2003 to 2012?
62 Gender Presentation in Titles
The total number of picture books for the source of content analysis was 70. There
were 40 books of the United States awarded the Caldecott Medal every year from 2003 to
2012. The number of Hsin-Yi Children Literature Award Books between 2003 and 2012
was 30. Gender presentation in titles of the award-winning picture books was analyzed and
recorded (see Appendix C and D). Table 7 provides an overview of the findings of gender
presentation in titles of award-winning picture books. Titles were categorized into 5 scales,
i.e., none, female, male, neutral, and both.
Table 7
Percentages of Gender Presentation in Titles of Award-winning Picture Books
Award-winning picture books English award-winning
picture books
Note. N=number; P=percentage (%).
Based on the data of English award-winning picture books (here after EAWPB), there
are 10 titles (25%) categorized as none, 3 titles (7.5%) categorized as female, 11 titles
(27.5%) categorized as male, 15 titles (37.5%) categorized as neutral, and 1 (2.5%)
63
categorized as both. As for Chinese Award-winning Picture Books (here after CAWPB),
there are 3 titles (10%) categorized as none, 1 titles (3.33%) categorized as female, 10 titles
(33.33%) categorized as male, 16 titles (53.33%) categorized as neutral, and 0 (0%)
categorized as both. It is found that most of the titles (44.29%) in English and Chinese
award-winning picture books are neutral titles.
However, of all the titles in the sampled picture books, some of them could have
implications for the concepts of masculine or feminine, such as “Ella Sarah Gets Dressed”,
“The Man Who Walked Between the Towers”, “Postman Adi”,”Handsome Frog Prince”,
etc. There is no doubt that when reading the titles of genders, readers suppose that the
stories seem to be masculine or feminine topics. It is a stereotype that people use a girl
when the topic is related to dressing up. The title of “Ella Sarah Gets Dressed “alludes to a
problem that Ella Sarah would pay attention to her clothes. Girls should care about their
dresses because attractive physical features are superior to intelligence and overall
personality. Moreover, the title of picture books, “The Man Who Walked Between the
Towers” seems that men are more likely to take risks. Another example of gender
stereotypes could also be seen from Adi’s job. The title of “Postman Adi” is a
gender-specific job title because the job title postman hints that the person is male, and the
gender of the person performs that job. A final example of gender stereotypes is shown in
the title of “Handsome Frog Prince” in which males are expected to be strong, tall,
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handsome, etc. Obviously, titles used in the picture books incline to be neutral in the light
of gender preference because children would show interest and concern to the topics that
are related to their life experiences.
Table 7 shows that, although of the titles (44.29%) in EAWPB and CAWPB are
neutral titles, the percentages of male and female titles in EAWPB and CAWPB are 27.5%
vs. 7.5% and 33.33% vs. 3.33% respectively. These features indicate that these selected
award-winning picture books are in favour of males.
Table 8
Percentages of Gender Presentation in Titles of Award-winning Picture Books in Five-year Periods
2003-2007 2008-2012 Total
Award-winning picture
Note. n=number; P=percentage (%).
Table 8 displays the percentages of male and female names appearing in the titles of
the selected picture books. In EAWPB, the percentages of female titles in the first period
are 7.50%; in the second period, they are 0%. However, the percentages of male titles in
65
the early period are 5%; in the late period, they are 22.50%. The results indicate that males
in this study appear more often than females in the titles over time. Similarly, the
percentages of CAWPB featuring females in titles decline from 3.33% in period1 to 0% in
period 2, but that of males increase from 10% in period 1 to 23.33% in period 2. This
suggests that most of the titles (37.5%) in EAWPB and (53.33%) in CAWPB between both
periods tend to be neutral titles. However, there is a rise in the frequency of males of
English and Chinese selected books from the first period to second period while there is a
considerable decrease in the visibility of females in EAWPB and CAWPB.
Gender of Illustration Character(s) on Front and Back Covers
Apart from counting the numbers of how males and females represented in the titles,
the numbers of gender characters on front and back covers of picture books are also
counted.
66 Table 9
Percentages of Gender Presentation on the Covers of Award-winning Picture Books
Award-winning picture books
English award-winning picture books Chinese award-winning picture books
Category n P n P
None 18 22.5% 8 13.33%
Female 10 12.5% 11 18.33%
Male 23 28.75% 20 33.33%
Neutral 14 17.5% 11 18.33%
Both 15 18.75% 10 16.67%
Total 80 100% 60 100%
Note. n=number; P=percentage (%).
Table 9 presents the percentages of male and female characters on covers of
EAWPB between the past ten years are 28.75% and 12.5%. Likewise, there are 33.33%
appearing of males vs. 18.33% appearing of females on covers of CAWPB over the last
decade. The figures indicate that male characters outnumber females both on covers of
EAWPB and CAWPB for the last ten years.
The results of the percentages of gender presentation on English and Chinese
award-winning picture book covers in two five-year periods are shown in Table 10.
67 Table 10
Percentages of Gender Presentation on the Covers of Award-winning Picture Books in Five-year Periods
2003-2007 2008-2012 Total
Award-winning
Note. n=number; P=percentage (%).
It is found that the percentages of male to female illustrations on the covers of
EAWPB in the first and second period are 11.25% vs. 8.75% and 17.5% vs. 3.75%. The
percentages of males appearing on the covers of EAWPB rise from 11.25% in the early
period to 17.5% in the late period, while those of females drop from 8.75% in the early
period to 3.75% in the later period. Also, the percentages of males appearing on the covers
of CAWPB increase from 15% in period 1 to 18.33% in period 2, but the percentages of
females decline from 11.66% in period 1 to 6.67% in period 2.
Apparently, from the first period to the second period, the percentages of males
68
appearing on the cover illustrations of English and Chinese selected books rise, while the
proportion of females portrayed on the cover illustrations of English and Chinese selected
books declines. This finding reveals that the imbalance of gender proportion has became
more serious on the cover illustrations of English and Chinese selected books, and women
are more invisible with time.
Based on Tables 9 and 10 above, we can conclude that female characters lack
visibility in many titles, and male dominance occurs on the covers of English and Chinese
award-winning picture books over time. Similar to the results of the study by Hamilton et
al. (2006), Turner-Bowker (1996), Oskamp et al.(1996), and Tepper and Cassidy (1999),
females were under-represented in the title references and cover illustrations of children’
picture books. Hamilton et al. (2006) indicated that males outnumbered females in titles
(75 versus 42) in 200 popular children’s picture books. Turner-Bowker (1996) found that
male characters were represented more in book titles. Oskamp et al. (1996) noted that
males and females occurring in titles were 7:3. In the study of Tepper and Cassidy (1999),
male characters were presented more often in titles than female characters.
Gender Presentation in Illustrations and Written Texts
The Level 2 Analysis was used to address the third and fourth research questions of
this study: How are gender roles presented in the main illustrations and the written texts of
69
English and Chinese award-winning picture books from 2003 to 2012; Are there any
differences in the gender role portrayals in the main illustrations and the written texts of
English and Chinese award-winning children’s picture books changed over time from
2003 to 2012.
Frequency Counts of the Appearance of Males and Females
In this section, the results of the total number and frequency of male and female
characters concerning page illustrations of EAWPB and CAWPB from 2003 to 2012 are
presented.
Table11
Percentages of Gender Appearances of Award-winning Picture Books
Award-winning picture books
English award-winning picture books Chinese award-winning picture books
Character N P N P
Male 1450 65.17% 843 59.04%
Female 775 34.83% 584 40.93%
Total 2225 100% 1427 100%
Note. N=number; P=percentage (%).
The findings indicate that the percentages of males and females showing up in the
illustrations of English selected picture books are 65.17% and 34.83% (see Table 11). In
Chinese selected picture books, male-to-female picture percentages are 59.04%: 40.93%.
Both EAWPB and CAWPB have a higher proportion of male-dominated pictures.
70
With regard to gender appearances of award-winning picture books in five-year
periods, features are shown in Table 12.
Table 12
Percentages of Gender Appearances of Award-winning Picture Books in Five-year Periods
2003-2007 2008-2012 Total
Award-winning picture
Note. C= character; F=female; M=male; N=number; P=percentage (%).
The percentages of male and female appearances of EAWPB in the first period have
figures of 24.99% and 15.91%, whereas in the second period they are 40.18% and 18.92%.
Similarly, the percentages of male and female appearances of CAWPB during the early
period have figures of 23.37% and 17.45% while during the late period they are 35.74%
and 23.48%. The percentages of male and female appearances on page illustrations in
English selected picture books increase from the first period to the second period. Again,
the frequency of male and female occurring on the page illustrations in Chinese selected
books rises up over two periods. However, there are more males than females in page
illustrations of EAWPB and CAWPB in both periods.
71
The results parallel to the findings of previous studies (Hamilton et al., 2006;
Turner-Bowker, 1996; and Oskamp et al., 1996). Hamilton et al. (2006) indicated that
males appeared 53% more times in illustrations in 200 popular children’s picture books.
Turner-Bowker (1996) claimed that characters presented more often in pictures were males.
Oskamp et al. (1996) concluded that gender-specified animals in illustrations were on
males’ side (approximately 5:1). That is, the findings of the present study resemble a
number of researchers’ statement that in the distribution of page illustrations, page
illustrations dominated by male characters outnumber those by female ones.
Analysis of the Occupational Roles in Illustrations and Written Texts
As far as the occupational roles in illustrations and written texts are concerned, Table
13 provides a complete list of the different jobs as they are attributed by gender.
72 Table 13
Types of Occupation of Male and Female Characters
Picture
books Character Occupational roles
English
73 Note. The numbers behind * indicate frequency of use.
Males take up 23 kinds of occupations, while females do 8 kinds in this sample of
EAWPB. In CAWPB, 17 different occupations are shown for males and 7 for females. The
range of occupations for males both in EAWPB and CAWPB is more variable than those
for females. In EAWPB, males are mainly portrayed as drivers, police officers, and doctors
while female are depicted as maids, seamstresses, and housekeepers. For CAWPB, main
jobs assigned to males are sales workers, police officers, journalists and guards, but
females are portrayed as housekeepers, judges, elementary school teachers, personnel clerk,
etc.
Table 14 presents the percentages and frequencies of occupations identifying with
gender EAWPB and CAWPB during the last decade.
74 Table 14
Percentages of Occupations Identifying with Gender
Award-winning picture books Occupation English award-winning
picture books
Chinese award-winning picture books
Male Female Male Female
f P (%) f P (%) f P (%) f P (%)
No 43 34.96% 34 27.64% 20 23.26% 21 24.42%
Traditional 26 21.14% 14 11.38% 19 22.09% 8 9.30%
Non-traditional 4 3.25% 1 0.81% 8 9.30% 3 3.49%
Gender-neutral 1 0.81% 0 0% 7 8.14% 0 0
Total 74 60.16% 49 39.84% 54 62.79% 32 37.21%
Note. f=frequency; P=percentage (%).
The percentages of males to females engaged in traditional occupations and
non-traditional occupations are 21.14% to 11.38% and 3.25% to 0.81% in EAWPB.
Besides, for CAWPB the percentages of male to female characters engaged in traditional
occupations and non-traditional occupations are 22.09% to 9.30% and 9.30% to 3.49%
respectively. This outcome implies that male and female characters are presented as having
more traditional occupations in both EAWPB and CAWPB.
Table 15 presents the percentages of traditional occupations and non-traditional
occupations identified with gender in five-year periods.
75 Table 15
Percentages of Traditional Occupations and Non-traditional Occupations Identified with Gender in Five-year Periods
2003-2007 2008-2012 Total
Note. c=character; F=female; M=male; f=frequency; (%)=percentage.
The percentages of traditional occupations assigned to male and female characters in
EAWPB rise up from 26.67% (in the first period) to 31.11 % (in the second period) and
13.33% (in the first period) to 17.78 % (in the second period). For CAWPB, the
percentages of male characters having traditional occupations increase over time: from
13.16% in the early period to 36.84% in the late period, but those of female characters
sharply fall from 15.79 % in the early period to 5.26 % in the late period. Obviously, the
percentages of traditional occupations assigned to males in English and Chinese selected
picture books ascend over both periods. Interestingly, only the percentages of females with
traditional occupations increase in English selected picture books over time while the
76
proportion of women with traditional occupations drops in Chinese ones.
The differences found in the present study of men represent a broader range of
occupational options than women. This corresponds with the general pattern found by
other researchers of children’s picture books (Weitzman et al., 1972; Hamilton et al., 2006;
Heintz, 1987). Weitzman et al. (1972) indicated that none of women had an occupation
outside home. Hamilton et al., (2006) discovered that males still were more likely than
females to have traditional occupations. Males were shown in a variety of occupations than
females (2.7:1). Heintz (1987) claimed that the ratio of males to females in career choices
was 3:1.
Activities of Male and Female Characters in Illustrations and Written Texts
Using the coding sheet, central characters’ activities are identified. In this section,
some activities are given examples. With regard to activities exhibited by main male and
female characters in illustrations and written texts of EAWPB and CAWPB, the activities
were categorized into two types: instrumental-independent activities and
passive-dependent activities. Instrumental-independent activities included playing ball,
riding bike/horse, running, climbing, swimming/fishing, helping others, making something,
solving a problem, and active outdoor play. Passive-dependent activities included playing
house, picking flowers, housework, caring for siblings, caring for pets, watching, needing
77 help, causing a problem, and quiet indoor play.
Table 16 shows percentages of main characters engaging in
instrumental-independent and passive-dependent activities in EAWPB and CAWPB over
the past ten years.
78 Table 16
Percentages of Main Characters Engaging in Instrumental-Independent and Passive-Dependent Activities
Award-winning picture books English award-winning
picture books
Chinese award-winning picture books
Character Character
Male Female Male Female
Activity % (f) % (f) % (f) % (f)
Instrumental-independent
Playing ball 0.00% (0) 0.00% (0) 4.00% (1) 0.00% (0) Note: f=frequency count; %=percentage.
It is found that main male and female characters of EAWPB engage unequally in
instrumental-independent activities (43.48% vs. 17.40%) and passive-dependent activities
79
(26.09% vs. 13.05%). Main male characters outnumber not only in
instrumental-independent activities but passive-dependent activities. Quiet indoor play
(21.74%), active outdoor play (13.04%), and running (13.04%) are activities assigned to
main male characters more frequently. On the other hand, main female characters
participate more in some activities like active outdoor play (13.04%), riding bike (4.35%),
caring for pets (4.35%), housework (4.35%), and quiet indoor play (4.35%).
As for CAWPB, the figures show that male characters exceed female ones in
instrumental-independent activities (44.00% vs. 20.00%); nevertheless, females dominate
males in passive-dependent activities (24.00% vs. 12.00%). Males outnumber females in
some activities, such as playing ball (4.00% vs. 0.00%), helping others (8.00% vs. 4.00%),
solving a problem (8.00% vs. 4.00%), active outdoor play (20.00% vs. 8.00%), caring for
pets (4.00% vs. 0.00%), and causing a problem (4.00% vs. 0.00%). Yet, female characters
exceed male ones in the behaviors of picking flowers (4.00% vs. 0.00%), housework
(8.00% vs. 0.00%), caring for siblings (4.00% vs. 0.00%), and quiet indoor play (8.00% vs.
4.00%).
The findings point out that the central male characters both in EAWPB and CAWPB
are more likely to be presented as participating in instrumental-independent activities than
passive-dependent ones. In contrast, for the central female characters in EAWPB, it is an
interesting phenomenon that females tend to engage more in instrumental-independent
80
activities than passive-dependent ones, but the central female characters of CAWPB lack
visibility in instrumental-independent activities.
There are some positive phenomena to present female characters as engaging in
instrumental-independent activities. In the story of “Me...Jane”, a girl, Jane Goodall,
always swings on a vine through the jungle and likes to explore and learn about the
outdoors, the creatures and the plants. For her, the world is magical, joyful, and amazing. It
is clear to find that the central female character likes activities which are not typically
stereotyped.
Again, the story of ‘Everything in Disorder” begins at a king sending a little princess
to buy eggs. When the little princess listens to this news, she is very cheerful and excited to
adventure the world outside the castle. Next, she leaves the castle with ten egg bodyguards.
On the way to buy eggs, the ten egg bodyguards dispute seriously who should cross the
bridge first. At this moment, the little wise princess marks on the ten egg bodyguards’
forehead with different numbers. Therefore, the ten egg bodyguards can cross the bridge
orderly. It is pleasing to see the central female character who participates in untraditional
gender role orientation, such as enjoying active outdoor play and solving problems
effectively.
However, there are some negative signs shown in some stories. For instance, in
the story of “A Wounded Angel”, there is a scene in the book that boys throw stones to
81
bully weak girls. Besides, the story of “What’s Missing at all’ portrays two boys who
throw balls in the street, but balls hit neighborhood’s flours so that the two boys cause
trouble. It is common to see males who are expected to participate in the actions of
aggressiveness and outdoor activities with carelessness.
Some female characters seem to feel obligated to bear the responsibilities of house
chores in a family. In the story of “Rosa”, after Rosa prepares breakfast and finishes all
housework, she then goes out for work. In the story of ‘The Stray Dog”, the mother always
wears an apron and cooks meals, but the father just drinks coffee and reads newspapers. In
the story of ‘Who is the Boss?” the main male character is a little boy who desires to be a
powerful person. Hence, he and his mother exchange roles. However, after mopping the
floor, he soliloquizes that “When did our house become so big? It is so tiring to be a
mother.” Apparently, his mother is portrayed as taking care of all the household chores.
Similar description can be found in the story of “Ah! Legs Getting Longer”, a little girl
finds her legs become longer overnight, and she thinks she could be a mother. The first
thing she does is to dry clothes. After that, she cleans the living room. It is no doubt that
her mother takes the burden of house tasks. In the story of “Going together to the Movies
her mother takes the burden of house tasks. In the story of “Going together to the Movies