This study is based on my work as a teacher of Swedish language and literature to upper secondary school students, and my interest in developing the teaching of literature by using both new criticism theories and theories of literary perception focusing on reader response. The purpose of the study is to examine the learning process in trying to develop literary competence and to find out how to describe the competence shown by the students. My starting-point is a discussion about literary competence and the theory and model of literary competence by Örjan Torell. In examining literary competence, by how students use their constitutional competence as well as performance and literary transfer competences, Torell´s model shows the possibility and the need for both knowledge of literature and personal reception by focusing on the dialogue between author and reader. The method is qualitative and the empirics are material collected in one senior high school class in the Social Science programme during their second and third year. The material contains written reading logs, written answers to tasks and transcribed recordings of discussions of literature. The analysis shows a variety among the literary competence shown and developed by the students and points to the complexity of understanding the concept of literary competence. The model proves to be useful in focusing the teaching and learning of literature and the results indicate that teaching of literature by combining learning of epochs, genres, ideas and conceptions with personal reading is a valuable approach. Keywords: literary competence, literary teaching, literary reception, discussions of literature, reading logs, literary repertoire, text competence.

<p>This study is based on my work as a teacher of Swedish language and literature to upper secondary school students, and my interest in developing the teaching of literature by using both new criticism theories and theories of literary perception focusing on reader response. The purpose of the study is to examine the learning process in trying to develop literary competence and to find out how to describe the competence shown by the students. My starting-point is a discussion about literary competence and the theory and model of literary competence by Örjan Torell. In examining literary competence, by how students use their constitutional competence as well as performance and literary transfer competences, Torell´s model shows the possibility and the need for both knowledge of literature and personal reception by focusing on the dialogue between author and reader.</p><p>The method is qualitative and the empirics are material collected in one senior high school class in the Social Science programme during their second and third year. The material contains written reading logs, written answers to tasks and transcribed recordings of discussions of literature.</p><p>The analysis shows a variety among the literary competence shown and developed by the students and points to the complexity of understanding the concept of literary competence. The model proves to be useful in focusing the teaching and learning of literature and the results indicate that teaching of literature by combining learning of epochs, genres, ideas and conceptions with personal reading is a valuable approach.</p><p>Keywords: literary competence, literary teaching, literary reception, discussions of literature, reading logs, literary repertoire, text competence.</p>

The edge of the abyss: Metamorphosis as reality in contemporary Native American literature, approaches the concept of metamorphosis from a metaphysical and philosophical perspective as a culturally defined reality. It focuses on the works of contemporary Native American writers: Leslie Silko, Scott Momaday, Gerald Vizenor, and Louise Erdrich, who address the metamorphic properties of Time and the metamorphic abilities of Man as a continuing link to the supernatural and natural worlds through stories which descend from a history of oral traditions. The Edge of the Abyss explores the use of language and stories as a cultural survival technique for the retention of tribal ideology and world view. It addresses the fine line which exists between Western and Native American concepts of reality in order to re-define metamorphosis within a cultural context. This thesis uses an interdisciplinary approach utilizing anthropological, sociological, shamanistic, literary, and cultural materials in a comparative analysis.

This study argues that novels by contemporary women writers, such as Doris Lessing, May Sarton, Barbara Pym and Jenny Diski, through their representation of older female protagonists, create alternative discourses of ageing to those that dominate Western society. By placing these figures at the centre of their narratives, the texts counteract the silence and pejorative stereotyping that routinely surrounds the lives of the aged. The technique of studying literary representations of women is not new; in fact, it is a trusted part of feminist methodology. However, one of the assertions of this dissertation is that it is rarely used to investigate texts about the senescent, reflecting feminism's failure to include the older women in their theories. Part one of the dissertation examines such issues in depth, setting out the theoretical orientation of the study. It considers popular representations and paradigms of ageing, as well as considering the power of normalising discourse and dynamics of representation. Part two uses this material to analyse the strategies that British and North American authors have employed, since the 1960's, to challenge common stereotypes of older women. The first three chapters focus on novels that portray protagonists who display emotions, not usually associated with the old, which are revealed in relation to different aspects of ageing: anger and frustration (dependency); passion and desire (sexuality); and contentment (daily life). Chapter 7, 'The Wise and Archetypal Older Woman', shifts its attention away from more realist texts to study characters who emerge from the covers of ratiocinative fiction. It argues that conventional critiques of the genre often negate its more polemical elements, which is a result of their failure to use an age- and gender-aware approach and a problem that generally greets intelligent novels about female senescence. This thesis sees itself as part of a movement that aims to create a space in which older female characters' voices can be heard and recognised. It contends that the authors treated here produce visions of ageing that are not solely concerned with stagnation and decline. They represent a varied and compelling group of protagonists and, in doing so, illustrate that older women are worthy of literary, social and feminist interest.

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A comparative essay to show links between empowerment in feminism and postcolonialism by comparing the development of the protagonist in Margaret Atwood's Surfacing to the development of Pauline in Louise Erdrich's Tracks.

The purpose of this study was to document the literacy practices of three 5-7 year old boys who were in the formative stage of formal schooling. The study took place in the British Virgin Islands, a group of 60 or so islands, cays, and islets located in the Caribbean. I examined these boys’ literacy practices in three contexts — home, community and school. Through observations, interviews and samplings of conversations at home, I found that school literacy dominated all three contexts and was used similarly in all three contexts. Additionally, parents were consciously reinforcing school literacy in the home. The three boys were reading, writing, speaking and listening at their expected grade level and appeared to be steadily progressing. Religion appeared to play an important role in supporting the children’s literacy development, consistent with the country’s Christian heritage. As previous research in other contexts (e.g., Marsh, 2003) has shown, home and community literacy practices remain largely unrecognized and untapped at school.

My research explores how the oft-maligned zombie genre reveals deep-seated American cultural tendencies drawn from the nation's history with colonization and imperialism. The zombie genre is a quintessentially American construct that has been flourishing in popular culture for nearly 60 years. Since George A. Romero first pioneered the genre with 1968's Night of the Living Dead, zombie narratives have demonstrated a persistent resilience in American culture to emerge as the ultimate American horror icon. First serving as a method to exploit and react to cultural anxieties in the 1960s, the zombie genre met the decade's tumultuous violence in international conflicts like the Vietnam War and domestic revolutions like the Civil Rights Movement. It adapted in the 1970s to expose a perceived excess in consumer culture before reflecting apocalyptic fears at the height of the Cold War in the 1980s. Following a period of rest in the relatively peaceful 1990s, the genre re-emerged in the early 2000s to reflect cultural anxieties spurred on by the attacks on the World Trade Center in New York and the subsequent resurgence of war those attacks inspired. Its ability to grow with American culture and reflect the relevant crises of the age in which each narrative is conceived suggests the genre can act as a barometer of cultural and social change and unrest. The zombie genre is ultimately an American construct as it is the only folkloric monster born of an American imagination. Romero's re-envisioning of the genre to an apocalyptic siege narrative rather than an icon of Haitian lore presented American audiences with a perfect outlet to embrace survivalist fantasies that hearken back to the nations birth on the frontier. It can be aligned alongside the plight of early settlers, as its characters find themselves displaced between a lost concept of society and the need to rebuild in a new, hostile environment. An environment which allows the return of iconic frontier figures like Daniel Boone, while redefining the role of the family to suit the needs of such an environment. It provides scenarios in which the nation can be regenerated through violence as the emergence of an antagonistic foe devoid of morality and consciousness must be met with extreme prejudice. It strips the antagonist of personality and thought, allowing audiences to return to an imperialistic conquest of a conquerable foe while eliminating any guilt associated with the act of colonization. In doing so, the genre glorifies the American past, allowing the reopening of the frontier in the zombie apocalypse as a method of escaping current cultural anxieties and romanticising concepts like the Indian hunter while stripping them of negative association. This thesis will suggest that the zombie has emerged as the ultimate American horror icon, and that it will continue to remain as such so long as there are instances of tumult and instability in the American cultural zeitgeist to which it can react.

My dissertation explores the enabling contributions of love to the practice of ethico-political and cultural critique. Engaging with the work of Alain Badiou, Simone Weil, Erich Fromm, and Roland Barthes, I examine love in terms of the following modalities: waiting, giving, and looking. I place the aforementioned thinkers in dialogue with selected literary and cinematic texts to explicate and interrogate the meaningful possibilities of their discourse on love. In my chapter on Alain Badiou, I discuss his ontology, which I draw upon heavily to set the theoretical parameters of my study. I also discuss the logic of love that he develops in his philosophy. Speaking to the problem of pre-Evental agency that critics of his work identify, I suggest that waiting as attention, as theorized by Simone Weil, might be the closest form of agency that a pre-Evental (amorous) being can experience. In my discussion of Erich Fromm, I reevaluate his “art of loving” within the constellation of late capitalism. Reading his work through a Lacanian lens, I explore the utility of his prescriptions by examining Chuck Palahniuk’s controversial novel Fight Club. In my chapter on Roland Barthes, I theorize the possibility of cinematic looking that does not depend on the antagonism inherent in the binaries masculine/ feminine and (Gazing) spectator/ (to-be-looked-at) image. Towards this objective, I propose the “amorous look,” a mode of viewing occasioned by cinematic punctual encounters, that I contend is beyond the domain of desire and perversion. I deploy the “amorous look” as I reflect on Aureus Solito’s film Ang Pagdadalaga ni Maximo Olivares (The Blossoming of Maximo Olivares) and its representations of love and waiting. / Thesis (Ph.D, English) -- Queen's University, 2011-08-04 13:17:28.779

This thesis offers both a survey of representative French language literary plagiarisms from Corneille's Le Cid to contemporary internet downloading, and an evaluation of theoretical approaches to plagiarism and plagiarism-related subjects including intertextuality, pastiche, heteroglossia, and citation. The author argues that all-encompassing theoretical approaches to plagiarism cannot account for vast variations, both in the motivation for plagiarizing on the part of the author, and in the reception of the plagiarized material by individual readers and by the literary/discursive community. Varying standards of acceptability for plagiarized texts are contingent upon the historical, political, geographical and legal juncture within which they are undertaken, and the consequences of plagiarisms uncovered vary accordingly. Nevertheless, the author notes an important relationship between prevailing socio-economic relations within the society and the ways in which plagiarism is regarded by the institutions entrusted with the regulation of, for example, copyright, author's rights, and the publishing industry. After considering the findings and failings of the growing corpus of approaches to plagiarism from Angenot to Zumthor, the author concludes that at the end of the day, approaches are most significantly narrowed-down to categories that uphold or reject the practise of plagiarism. Two extreme examples of these categories would be the corporations' attempts to purchase for all time the rights to the reproduction and diffusion of literary texts, and the Bakhtin-inspired approach that emphasizes the point that utterances are common to communities of speakers, and as such redundancy and repetition are inevitable--but so too is assurance that the originality of each repetition will be affirmed by the ever-changing context within which it is spoken. The latter approach, deemed utopic within the present system of economic relations, is not upheld as a panacea: indeed the