This thesis explores the work of three women practitioners in radio and examines the process of writing radio drama through a mixture of criticism and practice. It analyzes early theories about radio drama and compares them with those of today, in order to ascertain whether the early ideas are still relevant. Starkey points out that radio has been relatively undertheorized (2004: 204), so this evaluation of the practice of writing radio drama adds to knowledge of the medium as a whole. The work focuses on two women practitioners from the past: Hilda Matheson, whose book Broadcasting (1933), was the first single authored text on radio and broadcasting by a woman published in English (Crook 1999: 12) and Mabel Constanduros, who was a prolific writer and actress of the time, specialising in comedy. Matheson s ideas are compared with those of Val Gielgud and other early theorists, which were more accepted at the time. This analysis leads to close examination of a debate at the heart of radio drama, that being whether noises or dialogue are the best method of storytelling. Finally there is a consideration of the author s own writing practice, using three broadcast radio plays, 21 Conversations with a Hairdresser, 15 Ways to Leave Your Lover and Jesus, The Devil and a Kid Called Death. This provides insight into the changing methods of writing for radio. The findings create a story design for writing the Radio 4 Afternoon Drama. Final written drafts are included, along with audio copies of the plays as they were broadcast. Several different types of criticism create the theoretical base, including works on cultural theory, feminist theory and reception theory, as well as texts on radio, screen, play and comedy writing.

Jag har i denna studie haft som syfte att undersöka hur förmågan att skriva för hand ser ut för elever i mellanstadieålder i en svensk grundskola. Mitt syfte har också varit att undersöka om det finns ett samband mellan förmågan att skriva för hand och förmågan att skriva med textkvalitet. För att nå svar på mina frågeställningar genomförde jag en undersökning där 25 elever deltog. Undersökningen innehöll fyra testdelar som vardera var designade för att mäta olika delar i förmågan att skriva för hand och även ämnade att synliggöra förmågan att skriva med textkvalitet. Den forskning som ligger till grund för den här studien visar att det finns ett samband mellan en automatiserad förmåga att skriva för hand, förmåga att skriva med textkvalitet och skolframgång. Orsaken till detta samband förklaras av forskningen i hur olika minnesstrukturer kan användas och avlastas vid automatiserade förmågor jämfört med icke automatiserade förmågor. Resultatet av studien visar att det finns en stor variation i den undersökta elevgruppens förmåga att skriva för hand. Tydliga tendenser pekar även på att det finns ett samband mellan en automatiserad förmåga att skriva för hand och en förmåga att skriva med textkvalitet.

This thesis examines the portrayal of authorship in Byatt’s novels with a particular focus on her use of character-authors as a site for the destabilisation of dominant literary and cultural paradigms. Byatt has been perceived as a liberal-humanist author, ambivalent to postmodern, post-structuralist and feminist literary theory. Whilst Byatt’s frame narratives are realist and align with liberal-humanist values, she employs many different genres in the embedded texts written by her character-authors, including fairy-tale, life-writing and historical drama. The diverse representational practices in the novels construct a metafictional commentary on realism, undermining its conventions and conservative politics. My analysis focuses on the relationship between the embedded texts and the frame narrative to demonstrate that Byatt’s strategies of representation enact a postmodern complicitous critique of literary conventions and grand narratives. Many of the female protagonists and minor characters are authors, in the broad sense of cultural production, and Byatt uses their engagement with representation of women in literature to pose questions about how cultural narratives naturalise patriarchal definitions of femininity. That Byatt’s female characters resist patriarchal power relations by undermining the cultural script of conventional femininity has been under-explored and consequently critics have overlooked significant instances of female agency. Whilst some branches of postmodern and feminism literary theory have conceptualised agency differently, this thesis emphasises their shared analysis of the discursive construction of subjectivity, as it illuminates Byatt’s disruption of literary conventions. My focus on the embedded texts and the discursive construction of authorship in Byatt’s fiction enables me to address the numerous paradoxes and inconsistencies in the novels as fertile sites that undermine Byatt’s presumed politics.

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It is usually said that "A picture is worth a thousand words". It is then interesting to look into how students perceive their own writing process when they use drawing as an pre-writing strategy. Previous research have shown that drawings help young pupils in the beginning of their writing development. The study is a phenomenographic study and are built on interviews and observation as method. The aim of this study is to investigate pupils perception of using drawings as a pre-writing strategy for writing. The following questions where formulated: • How do the students experience the drawing as a preparation for writing their narrative text? • How do the students perceive their own writing process? • What is the students perception of the drawing as a possible support during the      writing process? • How do the students perceive the drawing as support during their own writing process? This study is based on interviews with four pre-school students in second grade. The result in the study shows that the students are positive to use drawing as preparation for writing. It also shows that the students had different perceptions about how the drawing was as a support for writing. The drawing was perceived as a support for the working memory, a support to describe details form the drawing in the text and make structure in the text. The result also shows that the student´s perception of the drawing as a support of writing are connected to the student's perception of their own writing process.

No description available.