Thesis (M.S.)--Boston University

Fiction that incorporates gay, lesbian, bisexual, transgender, or questioning of heterosexuality itself (GLBTQ) themes and characters has been noted among the most widely censored novels for young adults (ALA, 2007; Finnessy, 2002; Karolides, 2002). Despite many teachers’ and librarians’ anxiety about even recommending a novel that includes homosexual characters, more novels with GLBTQ characters and themes are receiving significant literary accolades and awards. Furthermore, acclaimed researcher and young adult literary historian, Michael Cart (2004) notes that reading young adult literature, “the quintessential literature of the outsider,” provides “the lifesaving necessity of seeing one’s own face reflected in the pages of a good book and the corollary comfort that derives from the knowledge that one is not alone” (p. 46). For GLBTQ youth, this is exceptionally important given the heteronormative structures in place to monitor and control sexual and gender identities and expressions. With this in mind, I utilized a dynamic and multi-faceted analytic approach, including interpretivist, textual discursive, and literary analyses, to examine seventeen GLBTQ themed novels for images, characterizations, and messages depicted about nonconforming sexualities and gender identities. I sought to answer three primary questions: 1) What are the networks or systems of power that are unveiled as inhibiting the identities of the characters? 2) How are the identities of these characters constructed? 3) What messages do the texts convey regarding nonconforming sexual and gender identities? I found that the authors largely created dynamic, three-dimensional characters with complex histories and narratives that affirm and validate GLBTQ identities. Moreover, I observed two overarching set of factors: one that encompasses culturally mediated forces, which include cultural institutions and practices, persecution, and social networks, and a second that emphasizes a critical modernist construction of identity. Additionally, I found a progressive-oriented didacticism pervasive through the texts that positively portrays GLBTQ characters, denounces homophobia, frequently challenges heteronormative assumptions and behaviors, and instructs readers about various issues and conflicts common to GLBTQ youth.

Thesis.

Young adulthood is generally a time when an individual completes a post-secondary education, decides on a career, and enters the workforce. When individuals are diagnosed with cancer during this stage in life, they often take time away from school or work to undergo treatment. The aim of this study was to collect data to get a richer understanding of the experiences of young adult cancer survivors who resumed an occupation of school or work following cancer treatment. Ten young adult cancer survivors were interviewed. An interpretative phenomenological approach allowed for the study of individuals’ lived experiences. An account of participants’ experiences is presented, organized by 4 master themes, “making the decision”, “actively adapting to changed lives”, “receiving support”, and “renewed sense of health and wellness”. These findings may be informative for cancer patients and survivors, as well as stakeholders, as they often have access to limited resources.

The exegesis will elaborate on the research process undertaken this year to write a fictional draft novel. The creative work is a young adult fantasy novel, and is part one of what will eventually be a three part series. At this stage, its working title is Phaze One. The introduction of the exegesis discusses what may possibly be the attraction of the fantasy genre to many writers; especially in light of what some critics refer to as the ‘light-weight genre’, and why fantasy has attracted me. There is an overview of Phaze One and why I have chosen to write part one of a three part series. The landscape of contemporary young adult fantasy, as well as, the categories of science fiction and fantasy literature and how they overlap will be discussed, with reference to academic literature. I will also discuss the relevance of mythic conventions and archetypes common in fantasy, and how these conventions have been adapted to the novel. Thus, positioning the creative work within its wider context. The exegesis includes reference to various writers who were relevant to the creative process; however, significant reference will be to the young adult fantasy writer Garth Nix and his ‘Keys to the Kingdom’ series. Various fantasy elements within the work will be discussed, as well as, the ideas for some settings, and the integration of Campbell’s ‘Heroes Journey’ in the novel.

The exegesis will elaborate on the research process undertaken this year to write a fictional draft novel. The creative work is a young adult fantasy novel, and is part one of what will eventually be a three part series. At this stage, its working title is Phaze One. The introduction of the exegesis discusses what may possibly be the attraction of the fantasy genre to many writers; especially in light of what some critics refer to as the ‘light-weight genre’, and why fantasy has attracted me. There is an overview of Phaze One and why I have chosen to write part one of a three part series. The landscape of contemporary young adult fantasy, as well as, the categories of science fiction and fantasy literature and how they overlap will be discussed, with reference to academic literature. I will also discuss the relevance of mythic conventions and archetypes common in fantasy, and how these conventions have been adapted to the novel. Thus, positioning the creative work within its wider context. The exegesis includes reference to various writers who were relevant to the creative process; however, significant reference will be to the young adult fantasy writer Garth Nix and his ‘Keys to the Kingdom’ series. Various fantasy elements within the work will be discussed, as well as, the ideas for some settings, and the integration of Campbell’s ‘Heroes Journey’ in the novel.

The exegesis will elaborate on the research process undertaken this year to write a fictional draft novel. The creative work is a young adult fantasy novel, and is part one of what will eventually be a three part series. At this stage, its working title is Phaze One. The introduction of the exegesis discusses what may possibly be the attraction of the fantasy genre to many writers; especially in light of what some critics refer to as the ‘light-weight genre’, and why fantasy has attracted me. There is an overview of Phaze One and why I have chosen to write part one of a three part series. The landscape of contemporary young adult fantasy, as well as, the categories of science fiction and fantasy literature and how they overlap will be discussed, with reference to academic literature. I will also discuss the relevance of mythic conventions and archetypes common in fantasy, and how these conventions have been adapted to the novel. Thus, positioning the creative work within its wider context. The exegesis includes reference to various writers who were relevant to the creative process; however, significant reference will be to the young adult fantasy writer Garth Nix and his ‘Keys to the Kingdom’ series. Various fantasy elements within the work will be discussed, as well as, the ideas for some settings, and the integration of Campbell’s ‘Heroes Journey’ in the novel.

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 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.

Thesis (Ed.D)--Boston University

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