Som blivande lärare har man ett ansvar för den litteratur som våra elever läser. Det står i läroplanen att skolan har ett ansvar för att motverka de traditionella könsmönstren vilket ska göras hela tiden i all undervisning. Ett sätt är att kritiskt granska den litteratur som används i undervisningen.  I den här uppsatsen gör jag en analys ur ett genusperspektiv i fantasyromanen Cirkeln som är skriven av Mats Strandberg och Sara Bergmark Elfgren. Jag använder mig av Maria Nikolajevas schema över karaktärsdrag som är typiska för kvinnor/flickor och män/pojkar i barn- och ungdomslitteratur. Jag jämför de typiska dragen med de sex huvudkaraktärerna för att se om de upprätthåller eller bryter mot det traditionella mönstret. Jag använder mig också av Lois Tysons frågor som är konstruerade för feministiska analyser i litteratur. Jag tittar också på normer i romanen och hur de kan relatera till dagens samhälle. Den sista delen av uppsatsen består av en kort intersektionell analys av klass, etnicitet och sexualitet i romanen. Resultatet var att karaktärerna har egenskaper från både den kvinnliga och manliga delen av schemat. Karaktärerna och situationerna i romanen utmanar den traditionella synen på genus och problematiserar definitivt normerna i vårt samhälle. Heteronormen är ifrågasatt, men etnicitet och klass verkar inte spela någon större viktig roll i romanen eftersom det knappt finns med.

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Thesis advisor: Timothy Duket / Synthesizing elements of so many traditions, fantasy has grown into perhaps the most pervasive genre of literature in the western world. The archetypal adventures and themes that have been carried into fantasy through ancient legends and myths have survived over the ages because it was decided long ago those tales had great worth. It was the unpopular and poorly formed legends that died out, while the superior stories were carried from culture to culture under new guises. In this way, fantasy can be seen as the culmination of human legends, filtered throughout history so that only the great tales remain. On what greater pedestal could a form of literature be based? Fantasy has even continued the refinement process in the last fifty years, with active writers like Jordan and Goodkind incorporating elements from the greatest of previous fantasy authors like Tolkien, Howard, and Donaldson. Thus fantasy is continually improving upon itself and evolving in new ways through its modification of old themes. How long can critics refuse to recognize fantasy as a legitimate form? With such admirable authors writing today, it seems logical that the answer would be sooner rather than later. Might fantasy be vanquished by sneering critics and replaced with another form of fiction? Gandalf claims even the Wise cannot see all ends, and while in no way do I profess such wisdom, I find it difficult to believe that, as the successor of mythology, fantasy will ever fizzle and die. A force greater than all the magic swords and rings combined would be necessary to kill four thousand years of human imagination. / Thesis (BA) — Boston College, 2003. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

by Fiona Chan Siu Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves [114-118]). / Chapter Chapter One --- "Fantasy, Postmodernism and Space" --- p.1 / Chapter Chapter Two --- Fantasy and Hyperspace --- p.27 / Chapter Chapter Three --- Fantasy and Cyberspace --- p.54 / Chapter Chapter Four --- The Constituting and the Constituted in the Postmodern --- p.81 / Works Cited --- p.114

For hundreds of years, Ona and her people have been unknowingly enslaved. Ona has given everything she is to the spiritual people on the mountain, including her own son. So when rumors spread through the swamp’s magical mycelium that she and her people are slaves, Ona must find the truth and, if possible, reunite with her son before he becomes as evil as those who raised him. Meanwhile, her son has his own doubts after his people leave his friend to die. As he and Ona journey separately to save the people they love, they find everything they believed to be true falling apart, making room for a new kind of faith and life.

This project compared three techniques of assessing waking fantasy, or daydreaming. The Thematic Apperception Test (TAT), the Imaginal Processes Inventory (IPI), and time-sampled ongoing mentation reports (OMR) were the three measures employed. Seven qualities were compared, as measured by the three methods, using a multitrait-multimethod correlation matrix. Neither extensive convergent nor extensive discriminant validity was demonstrated among the three measures. This suggests that one should use caution in comparing research findings which utilize different measures of waking fantasy.

No description available.

Uppsatsen undersöker framställningen av kvinnligt genus i en fantasy roman.

Polish Fantasy on Original Theme is one of the two piano concertos composed by the Polish composer¢wIgnacy Jan Paderewski. Affected by the sectional manner of the fantasy, unique rhythm and the melody of Polish dance music, Polish Fantasy on Original Theme presented the feature of Polish dance music, the style of the fantasy and the form of single movement concerto. This research includes three chapters. In order to comprehend Paderewski¡¦s compositions, his music study, the career as a pianist, and as a statesman; the first chapter will investigate the life of Paderewski. The second chapter presents the development and the characteristic of fantasy, the advance of single movement concerto, the style and the feature of Polish dance music. The background of Polish Fantasy on Original Theme should be examined in detail in the last chapter. In the meanwhile the composition manner, the influences of the fantasy, single movement concerto and Polish dance music will also be discussed in the content.

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