Tamora Pierce’s work has been cited by many Young Adult fantasy authors as a major influence in recent years. Despite this, her work remains relatively obscure among librarians and readers of Young Adult literature. This paper examined one of Pierce’s Young Adult fantasy series, Protector of the Small, by comparing the series to existing works of Young Adult fantasy literature commonly accepted as classic or canonical literature. Among the comparative works were titles authored by J. R. R Tolkien, C. S. Lewis, J. K. Rowling, and Philip Pullman. Comparison was character-focused, with emphasis on the representation of parents, other sympathetic adults, peers, and family units. Some comparison was also focused on the representation of antagonists in the selected works. The aim of the comparative analysis was to serve as a guide for librarians, teachers, and readers of Young Adult literature to better understand potential target audiences for the Protector of the Small quartet. It was found that target audiences for the series would likely seek or benefit from the Protector of the Small quartet’s inclusion of supportive parental and mentor figures, strong familial bonds, and supportive and communicative peers. Target audiences would also seek literature with nuanced antagonists capable of character growth. Most prominently, target audiences would seek Young Adult fantasy literature that addresses real-world issues and challenges for young women, including sexism, puberty, and reproductive healthcare.

This thesis investigates the function of representations of the Orient in fantasy literature for children with a focus on The Chronicles of Narnia as exemplifying its most problematic manifestation. According to Edward Said (2003:1-2), the Orient is one of Europe’s ‘deepest and most recurring images of the Other… [which]…has helped to define Europe (or the West) as its contrasting image, idea, personality, experience.’ However, values are grouped around otherness in fantasy literature as in no other genre, facilitating what J.R.R. Tolkien (2001:58) identifies as Recovery, the ‘regaining of a clear view… [in order that] the things seen clearly may be freed from the drab blur of triteness or familiarity.’ In Chapter One, it is argued that this gives the way the genre deals with spaces and identities characterized as Oriental, which in Western stories are themselves vested with qualities of strangeness, a peculiar significance. Specifically, new ways of perceiving the function of representations of the Other are explored in the genre of fantasy. Edward Said’s concept of imaginative geographies is then introduced and the significance of this concept in light of the fictional spaces of fantasy is explored. Next, fantasy’s links to representations of the Orient in Romance literature are explained, and the way in which these representations are determined by the heritage of Orientalist discourse is examined. Finally, the issue of children’s literature as colonial space and the implications of this in a fantasy framework are discussed. Chapter Two begins by introducing C.S. Lewis and explaining the ideology at work in The Chronicles of Narnia. The order in which The Chronicles should be approached is then established, and the construction of identity in the first three of The Chronicles is examined. Chapter Three focuses on The Horse and His Boy, the book in which the pseudo-Oriental space of Calormen most prominently figures. Chapter Four is devoted to the last two books of The Chronicles with emphasis on the role played by the Other in the destruction of Narnia in The Last Battle. In Chapter Five, I sum up the essential problems of representing the Orient as illustrated by my study of The Chronicles of Narnia. Representations of the Orient in The Chronicles are compared with pseudo-Oriental constructions in Castle in the Air, by Diana Wynne Jones, Emperor Mage and The Woman Who Rides Like A Man by Tamora Pierce and both Voices and The Earthsea Quartet by Ursula K. Le Guin. The similarities and differences evident in the representations of the Orient in all these works are traced and the implications of them are explored. Le Guin in particular is noted as an author who demonstrates some ways to break free of Orientalist paradigms of identity. / Dissertation (MA)--University of Pretoria, 2010. / English / Unrestricted

Recent empirical evidence supports the theoretical stance that fiction provides vicarious experiences of imagined spaces and situations that can help shape our perceptions of the real world, our social others, and the self. The implications for this are especially interesting for adolescents, as their brains undergo a restructuring during puberty, making them more responsive to change in executive function and social cognition. Few scholars have yet addressed how texts instruct young readers in how to use their developing cognition to assess characters' emotions and behavior, and how fiction can potentially affect these readers' cognitive and emotional development. This thesis analyzes the concept that potential adolescent readers can engage with a novel's characters' thoughts and behaviors by using their improving cognitive abilities to transmute what is on the page into real-life coping strategies. This phenomenon is especially compelling when considering the potential impact empowered female characters could have on adolescent girl readers, since their malleable brain around puberty makes them more receptive to accepting ideas - such as a person's gender not being a limitation. I examine what the primary texts themselves offer to potential readers, and analyze certain aspects of the texts that could be linked to potential readers' cognitive and affective engagement. The primary texts I have chosen are Tamora Pierce's two narrative quartets (The Song of the Lioness and Protector of the Small) that deal with characters from the fictional land of Tortall, as they focus closely on female characters in fantasy realms who are breaking gendered stereotypes by training to become knights. Pierce's books are representative of this adolescent feminist fantasy. I extrapolate that findings from this thesis will be applicable to other kinds of adolescent feminist fantasy texts; namely, that adolescent feminist fantasy fiction can beneficially change potential readers behavior and cognition.

This project explores the narrative arcs of strong female characters in Young Adult (YA) fantasy literature. Taking up Rosemary Jackson’s assertion that fantasy literature can ‘subvert patriarchal society,’ this thesis examines the fantasy ‘legacy code’ of strong and subversive female characters who settle into a stereotypical performance of gender after finding fulfillment in the heteronormative roles of lover, wife, and mother. This pattern is exemplified by Lady Éowyn of J.R.R. Tolkien’s The Two Towers (1954) and The Return of the King (1955), and reproduced by Hermione Granger of J.K. Rowling’s Harry Potter series – consisting of Harry Potter and the Philosopher’s Stone (1997), Harry Potter and the Chamber of Secrets (1998), Harry Potter and the Prisoner of Azkaban (1999), Harry Potter and the Goblet of Fire (2000), Harry Potter and the Order of the Phoenix (2003), Harry Potter and the Half-Blood Prince (2005), and Harry Potter and the Deathly Hallows (2007). In contrast Keladry of Mindelan in Tamora Pierce’s Protector of the Small series – consisting of First Test (1999), Page (2000), Squire (2001), and Lady Knight (2002) – demonstrates the impact ‘refactoring’ fantasy ‘legacy code’ has on the narrative conclusions of female characters. Using Judith Butler’s theory on the performative nature of gender and building on Farah Mendlesohn’s computer programming analogy of ‘legacy code,’ this thesis illustrates the ways in which fantasy literature often fails to be the literature of subversion Jackson envisions, and demonstrates how refactoring aspects of a female character’s narrative exemplifies subversive narrative conclusions for young adult readers of fantasy literature. / Thesis / Master of Arts (MA) / This thesis examines the ways in which a heteronormative ‘legacy code’ – exemplified by Lady Éowyn in J.R.R. Tolkien’s Lord of the Rings – has been perpetuated in literature marketed towards young adult readers by Hermione Granger in J.K. Rowling’s Harry Potter series and ‘refactored’ by Keladry of Mindelan in Tamora Pierce’s Protector of the Small series. Starting with Rosemary Jackson’s analysis of fantasy literature as a genre with subversive potential and with Judith Butler’s assertion that gender is performative, this thesis analyses the narrative arcs of Éowyn, Hermione, and Kel and demonstrates how the continual representation of strong female characters finding fulfillment in the roles of lover, wife, and mother is limiting, and highlights the subversive potential in ‘refactoring’ heteronormative ‘legacy code.’