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Young adult literature is a genre of literature that is often overlooked. Adolescents would greatly benefit from reading young adult novels, academically and also for enjoyment. Educators are not using young adult literature as often as they should in the classrooms as a tool, due to strict curricula. However, young adult literature is a perfect tool for aiding with comprehension of the classic works. Pairing certain young adult books with classics would help adolescents understand the classic novel, but also assist in intriguing the student enough to pick up both books. After an online survey given to nine Seminole County school English or Reading teachers, I found that high school teachers today do feel as though young adult literature would benefit the students greatly.

Based on recent research concluding that fiction can increase empathy, this project examines how multicultural young adult literature may encourage empathy in Appalachian adolescents. Empathy encourages prosocial behaviors, but evidence suggests that young adults’ ability to empathize has declined in recent decades. In addition, Appalachia in particular is still a relatively homogenous region as it is majority white, protestant Christian, and heteronormative. Because of this, young adults in Appalachia may encounter few diverse perspectives in real life; multicultural young adult literature can provide diverse perspectives with which teenagers can empathize in a region where they might not have similar opportunities in reality. This thesis demonstrates how three multicultural young adult novels (The Absolutely True Diary of a Part-Time Indian (2007), Accidents of Nature (2006), and The Porcupine of Truth (2015)) can be used in a literature unit that encourages students to show emotional understanding despite personal differences.

In recent years, the young adult genre has become increasingly popular and is experiencing a "second golden age.” It might be expected in such novels, when written by women and featuring gifted female heroines, to find some kind of a feminist message. Indeed, the heroines are often perceived as strong and capable. However, they fall in line with several old gender stereotypes. The three novels chosen for this study are: A Court of Thorns and Roses by Sarah J. Maas, Red Queen by Victoria Aveyard and An Ember in the Ashes by Sabaa Tahir. I will show that women, although perceived as strong and capable on the surface, often conform to stereotypes. In order to do this I analyse how women are portrayed from different perspectives. Women are often perceived as passive in romantic situations, and objectified through the normative male gaze. It is interesting that also in novels written by women for women, the male gaze is prominent. Through this the female reader gains the desire to be objectified, implicitly from the narrative, which is something that works against women’s empowerment in society. Furthermore, the female protagonists rarely, or never, threaten patriarchy in any way and generally work toward reinstating patriarchy which is perceived as the only sensible option. Women in power, who do threaten patriarchy, are portrayed as sadistic witches.

Master of Arts / Department of English / Daniel A. Hoyt / This project is the first three chapters of a young adult novel, The Muses. Lily Bellows is singled out in infancy to become one of the Muses, humans given supernatural powers through enchanted golden masks. The six Muses (Faith, Wisdom, Pride, Obedience, Courage, and Desire) are telepathically linked to Illyria’s king so that he is better able to manage his emotions and thus rule more efficiently. Lily is destined to be the Muse of Faith, but her parents fake her death and keep her abilities secret until she heals her village of a deadly plague and the Muses consequently return for her. As Lily struggles to master fighting arts, healing skills, and the ability to manipulate emotions, she must also befriend the moody Prince Connor who will one day share her consciousness, and she must untangle the complicated feelings she has for Connor’s illegitimate brother, Ronan. While Lily’s fellow Muse initiates have been training since infancy, Lily joins them as a teenager, and she finds it nearly impossible to give up her family, her dreams and her individuality so she can make Prince Connor into a better king. When she has the chance to break the oath she swore to serve her country as its Muse of Faith, she must choose between power and individuality and determine whether she must submit to her destiny or create her own.

In the early decades of the twenty-first century William Shakespeare’s works and figure began to arise in Young Adult adaptations and transnarratives focusing upon the undead. These works of werewolf, vampire, and zombie fiction represented Shakespeare as a creature of the undead or as a heroic savior. I argue that the figure of Shakespeare appears as an ambivalent symbol of corrupt authority or redeeming power within these YA undead adaptations because we are unable to reconcile Shakespeare’s centrality in literary studies with our twenty-first century social, political, and moral ideals such as multiculturalism, gender equality, and race relations. Essentially, these undead adaptations manifest the figure of Shakespeare as a crisis of our own faith in the “dead white European male” model of authority. Many of the works offer a rather dim view of the author and the cultural authority that he once represented. And the image these YA narratives conjure is often that of a zombie Shakespeare who is both immortal and rotting. Or alternatively, the absolute power of a vampire Shakespeare: cold, white, male, feeding upon the blood of the living. I argue that the YA protagonists must destroy the corrupt authority figures who hold power over them to create a “new world order” in these narratives, and Shakespeare’s position as “the author of authors” serves as the prime target. Alternatively, the contrasting narratives place Shakespeare in opposition to the undead hordes that are attacking humanity. In these novels and films, the figure of Shakespeare is an iteration of viable knowledge and authority solving not only his era’s problems, but those of our own, as well. I argue that these narratives seek to renew and add to Shakespeare’s authority through a metaphor of undead hybridity. By analyzing the werewolf or zombie-hunter in both film and literature, I demonstrate that many narratives utilize Shakespeare as a hybrid of both historical/literary authority and our own modern ideals. Rather than simply wolf or slayer, the Shakespeare of these narratives is both early modern authority and twenty-first century social/political hero.

Abstract: This thesis investigates the origins of contemporary fictional constructions of childhood by examining the extent to which current literary representations of children and childhood have departed from their Victorian origins. I set out to test my intuition that many contemporary young adult novels perpetuate Victorian ideals and values in their constructions of childhood, despite the overt circumstantial modernity of the childhoods they represent. The question this thesis hopes to answer therefore is, how Victorian is contemporary young adult fiction? To gauge the degree of change that has taken place since the Victorian period, differences and points of continuity between representations of nineteenth century childhood and twentieth century childhood will be sought and examined in texts from both eras. The five aspects of fictional representation that I focus on are: notions of innocence; sexuality; the child as saviour; the use of discipline and punishment to create the ideal child; and the depiction of childhood and adulthood as separate worlds. The primary theoretical framework used derives from Michel Foucault’s concepts of the construction of subjectivity through discourse, discipline and punishment, and his treatment of repression and power, drawn mainly from The History of Sexuality vol. 1 (1976) and Discipline and Punish; the Birth of the Prison (1977). I have chosen to use Foucault primarily because of the affinity between his work on the social construction of knowledge and the argument that childhood is a constructed rather than essential category; and because Foucault’s work on Victorian sexuality exposes links with current thinking rather than perpetuating assumptions about sexual repression in this period.

Fantasy literature is often dismissed as inferior work, whose primary purpose is to provide an escapist text for its readers. The purpose of this project is twofold: to show that fantasy actively engages social issues and to investigate how this engagement occurs, using the texts of young adult fantasy writer Tamora Pierce. Pierces works demonstrate how conventions of fantasy can be used and broken in order to create new perspectives on modern concerns. My study begins with an examination of fantasy literature and research, with emphases on J. R. R. Tolkien and Tzvetan Todrov. From there, I move on to discuss at length the three social issues most prevalent in Pierces work: environmentalism, feminism, and didacticism. In terms of environmentalism, animals are elevated above modern status, alien species create analogies to human affairs, and magic becomes a metaphor for responsible management and understanding of natural forces. Pierces treatment of feminism, through the portrayals of young female protagonists, has been challenged by critics for perpetuating the male-dominated system. However, a detailed study demonstrates a variety of different reactions and approaches to feminism that cannot be dismissed so easily. Both the environmentalism and the feminism in these novels suggest a desire on Pierces part to impart a didactic message to her young adult audience. While this message may not always be one that Pierce appears to intend, her nuanced approach to the often oversimplified fantasy binary of good and evil creates a worldview more compatible to that of her readers. Through Pierce and her work, fantasy is more than just escape- it fosters revitalization and reconsideration of the modern world.

Using textual analysis of 49 young adult paranormal romances, I answer what it is about the cultural milieu that makes these novels popular right now? This thesis argues that the discourse which emerges from the novels reflects contemporary discourse and narrative about the girls and young women who read the genre and who place themselves within this discourse and narrative. The novels respond to this discourse by offering instances where the girls' ideologies, built on the discourse taught to them, can be temporarily restored when the narrative proves false. These novels also undermine the confining discourse which the girls find themselves stuck in.

Fantasy literature is often dismissed as inferior work, whose primary purpose is to provide an escapist text for its readers. The purpose of this project is twofold: to show that fantasy actively engages social issues and to investigate how this engagement occurs, using the texts of young adult fantasy writer Tamora Pierce. Pierces works demonstrate how conventions of fantasy can be used and broken in order to create new perspectives on modern concerns. My study begins with an examination of fantasy literature and research, with emphases on J. R. R. Tolkien and Tzvetan Todrov. From there, I move on to discuss at length the three social issues most prevalent in Pierces work: environmentalism, feminism, and didacticism. In terms of environmentalism, animals are elevated above modern status, alien species create analogies to human affairs, and magic becomes a metaphor for responsible management and understanding of natural forces. Pierces treatment of feminism, through the portrayals of young female protagonists, has been challenged by critics for perpetuating the male-dominated system. However, a detailed study demonstrates a variety of different reactions and approaches to feminism that cannot be dismissed so easily. Both the environmentalism and the feminism in these novels suggest a desire on Pierces part to impart a didactic message to her young adult audience. While this message may not always be one that Pierce appears to intend, her nuanced approach to the often oversimplified fantasy binary of good and evil creates a worldview more compatible to that of her readers. Through Pierce and her work, fantasy is more than just escape- it fosters revitalization and reconsideration of the modern world.