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This study examines the progress of young adult (YA) literature in the twenty-first century, as influenced by Web 2.0 social networking technology and sliding structural temporalities of age and maturity in these digital times. The context is Stephenie Meyer’s popular Twilight saga, a pioneering example of an author purposefully engaging with online social networking communities and there encouraging derivative creativity, including Twilight fan fiction. This successful integration of YA literature with Web 2.0 is considered by first appraising tensions between traditional theoretical notions of the genre (and its readers) and contemporary manifestations of the same. Second is an investigation of the genre’s evolving readership and textual practices using the Twilight series, focusing on literary activities of Digital Natives (young adults) in online social arenas. A concentration on the integration of national identity into Canadian Twilight fan fiction examines such evolving practices in reference to an American product (a threat of Americanization) being re-coded in a Canadian reader’s personal, public and online spaces.

Young adult literature is enjoyed by both adolescents and adults. This genre of literature is often contemporary and tends to deal with real life issues, for example cultural and social aspects of young people’s lives. Such social issues can be, for example discrimination and racism, topics highly relevant to discuss in the Swedish upper secondary English classroom. This essay performs a didactic literary analysis of All American Boys, a young adult novel dealing with racism and police brutality in the USA. The primary focus in this essay is arguing for how literature, specifically, All American Boys, can be used to promote students’ critical thinking and intercultural awareness in the Swedish upper secondary school English classroom. The literary analysis of All American Boys found that the novel’s dual narrative offers a powerful and complex insight to social issues, making it suitable a suitable material to use in the Swedish upper secondary English classroom. The dual narrative in the novel can help students develop, not only reading comprehension in English, but also intercultural competence, as well as an opportunity to practice their critical thinking skills, specifically through working with comprehension constructors.

Film has since its inception been a potent storytelling tool, and the concept of illnesses and death havebeen a critical element in the stories mankind has told through cinema since the beginning. While theearly years of film saw few titles which directly named or featured diseases such as cancer, the 1980’sand 1990’s saw a vast increase in illness narratives being produced. By the beginning of the newmillennium, a new subgenre of film was beginning to emerge, specifically targeted at youngaudiences: Sick-Flicks.The purpose of this thesis is to examine the Sick-Flick subgenre, and scrutinize the films which the author has identified according to how they handle a variety of factors. These include the portrayal ofmale and female sufferers in accordance with the feminist theoretical observation of masculinity beingrepresented as active, while femininity is typically passive in nature. Beyond this, the essay alsoattempts to add to Susan Sontag’s essay Illness as Metaphor, exploring how the portrayal of illnessmay have shifted since the essay’s publication in 1978. Finally, this thesis also concerns itself with thereoccurring narrative trend of featuring talented adolescents as terminally ill sufferers and how thismay tie into neoliberalism and belief in the meritocracy.This thesis concludes that while there has been a shift in the metaphorical portrayal of diseases,especially as it pertains to cancer, which Susan Sontag concludes unsuitable for romanticization,overall, many of the criticisms and potentially problematic commonalities which both Sick-Flicks andtheir literary counterpart Sick-Lit have featured through the years remain. There is a remaining focuson heteronormative and racially homogenous victims, and innate talents and intelligence are present,arguably in order to make the eventual loss of the ill characters more tangibly tragic. The authorconcludes that while it is debatable whether or not filmmakers should feel any responsibility to portrayillnesses accurately, they should at least likely strive to reflect the current reality as far as survivalrates are concerned.

This essay examines how the past decade’s wave of young adult films portraying termi-nal illnesses compare and contrast with similar works from both film as well as literary works commonly referred to as “sick-lit”. By viewing three prominent films released be-tween 2014 and 2019 and applying both literature dealing with sick-lit as well as texts fo-cused on how cinema tends to portray serious illnesses such as cancer, I attempt to dis-cern whether significant change in the way which contemporary film handles severe ill-nesses has occurred.What this study reveals is that while certain narrative traits have been altered and various problematic elements addressed, film still vastly prefers portraying illnesses such as can-cer and cystic fibrosis as bleak, death sentences. The “sick-flicks” of modern-day cinema have also failed to address critique of the sub-genre as being both heteronormative and racially homogenous in nature.However, compared to films depicting terminal illnesses in teenagers from the 2000’s the recent wave of films in general dedicate more time to spotlighting their diseases. No longer relegating them to emotional revelations toward the end of the film.Overall, the findings are that most criticisms of cinema’s portrayal of terminal illnesses remain, yet progress has also been achieved in certain respects. Filmmakers more inter-ested in utilizing illnesses as a way to examine coming-of-age topics than the full experi-ence of terminal illness, notwithstanding.