The intent of this thesis is to (1) examine the prevalence of diverse populations in the pieces of children’s literature found in three Title I third grade classrooms, and (2) to examine if the diverse populations are authentically and relevantly represented. Researchers have emphasized the impact and importance of children’s literature that represent student’s diverse backgrounds authentically and relevantly, as they have the potential to affect students’ motivations, aspirations, and how they view themselves and the world at large. Particularly, Bishop (1990) suggested that students need books that act as “mirrors” that allow them to see themselves, their experiences, and their cultures, and books that as “windows” that allow them to learn about others, other experiences, and other cultures. However, the mere presence of diverse populations in children’s literature alone is not enough; the diverse populations must be represented authentically and relevantly as to not perpetuate stereotypes about certain non-dominant groups (Christ and Sharma, 2018). The content analyses conducted on the children’s literature with human characters found that the libraries were dominated by White main characters; 77.98% of the main characters were White and 22.02% of the main characters were from diverse populations, despite the school population being only 8% White. Additionally, the content analyses showed that while all the books with diverse main characters were culturally authentic, 35.14% were not culturally relevant. The findings of the content analyses should encourage educators to examine their classroom libraries to see if the diverse populations in their classrooms, and ones not present in their classrooms, are represented authentically and relevantly.

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This essay explores the use of young adult literature, primarily the young adult novel The Hunger Games by Suzanne Collins (2008), and how it creates an educational potential for learning and discussing ethics and ethical dilemmas for upper secondary school students. First, the curriculum for upper secondary school in Sweden is examined and confirms literature as important content of communication in the English subject and what the role of literature can be. Further, the curriculum’s ethical aspects are analysed, and it is affirmed that ethics has a significant part in the Swedish school and the English subject. However, the curriculum does not state how ethics should be taught. Additionally, research is presented and displays the connection between ethics and literature. Suzanne S. Choo’s thoughts and ideas on teaching ethics through literature are the framework of the analysis, and by analysing the ethical themes and issues in The Hunger Games, the aim is to prove the educational potential of teaching ethics with the use of the novel. The novel contains multiple ethical themes and topics suitable for an upper secondary school class, both broader themes regarding social and political issues, and internal ethical dilemmas. In conclusion, the novel appeals to many of the qualities requested in a book by young adults, and the educational potential is promising.

In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences. / Media & Communication