The development of the novel cannot be separated from discussions about literary history, gender relations, performance, and the power literature has to instruct its audience. Women and young people have always comprised a substantial part of the novel’s readership, and this makes them powerful. The history of the novel is the history of dangerous literature; it is the history of works that have enchanted readers with “the power of example,” as Samuel Johnson wrote in the eighteenth century, that can lead them to change their behavior. This thesis explores how women in young adult literature—in the eighteenth century through Frances Burney’s Evelina (1778) and today through Suzanne Collins’ The Hunger Games (2008)—use performance and vision to reveal and resist the social systems that try to define them. Evelina and Katniss, the heroines of these novels, provide their readers with examples of behaving in ways different than the normative model. Their stories, and the young women who read their stories, threaten the established social order of their worlds. The creative addition to this thesis provides readers with another young heroine who uses her powers, in a fantastical world, to reveal and resist the structures in her life.

The study of young adult literature has become widespread within Children’s and Young Adult Literature specifically and literary studies as a whole. However, the term “young adult” which defines and focalizes both the literature itself and the ostensible readers for whom it is produced remains a poorly-examined area. The present study examines the creation of one branch of what we now call “young adult literature” from its roots in the United States in the early twentieth century to its emergence as a dominant literary form in the mid-to-late 1960s. In doing so, it seeks to reconcile emerging professional, psychological, sociological, pedagogical, cultural, and ideological discourses concerning adolescence and young adulthood with works of fiction prepared specifically for their consumption. It also seeks to position the changing role of adolescent subjects into the larger framework of American Studies by examining how these texts reflected, tested, and reinforced dominant paradigms of thought surrounding how adolescents would become actualized American subjects. At the same time, it broaches concerns within these dominant paradigms that have been overlooked in constructing historical approaches to the development of young adult literature, and it suggests a few methodologies by which to recover these undiscussed threads.

Since the success of J.K. Rowling’s Harry Potter series, the young adult text has functioned as a potential gold mine both in publishing and in commercial film. Within the YA realm, a trend has surfaced which features a formulaic narrative located within a dystopian society. This research closely analyzes two popular works of the YA dystopian boom, The Hunger Games and the Divergent series, in order to outline the vast appeal of such a trend. Once examined, it becomes evident that the trend is one consistently tied to neoliberal ideals of individual achievement. Using neoliberalism as a lens of investigation, broader connections to youth culture within the contemporary cultural landscape are revealed. Investigating two mainstream favorites of the young adult dystopia has uncovered the notion of individualism that feeds the logic of consumer capitalism. Exploring a range of topics from the role of romance to government intervention, this work highlights the ways in which the trend reinforces the importance of the individual and her freedoms.

The practice of secondary world building, the creation of a fantasy realm with its own unique laws and systems has long been a tradition within the genre of fantasy writing. In many notable cases, such as those publications by J.R.R. Tolkien and H.P. Lovecraft, folklore exhibited in the world of the reader has been specifically used not only to construct these fantasy realms, but to add depth and believability to their presentation. The universe of J.K. Rowling’s Harry Potter series demonstrates this same practice of folklore-as-world-building, yet her construction does much more than just create a fantasy realm. By using both folklore which predates her writing as well as created elements which while unique to her secondary world specifically reflect the world of the reader, Rowling is able to create a fantasy realm which is highly political, complex and multivocal, yet still accessible to young readers through its familiarity. Specifically through her use of cryptids, belief representation, and folk narratives both invented and recontextualized, Rowling is able to juxtapose her fantasy universe to the real-world of the reader, in effect inventing a believable secondary world but also demonstrating to young readers the ways in which her writing should be interpreted.

This thesis contains the first two acts of a novel about a young girl named Isabeau Jones. After the mysterious drowning death of her mother, Isabeau attempts to find her place as a girl, as a student, as a preternaturally gifted baseball player and as an outsider in a rural East Texas community that does not look kindly on difference. Throughout the novel, Isabeau attempts to negotiate what it means to be female, academically ambitious, physically active and independent in a rural life that does not encourage such qualities in girls. While she navigates her tumultuous relationships with the men in her life, Isabeau also learns more and more about her mother and, eventually, she discovers for herself the kind of woman she can and wants to become.

In the early 1980s, a particular kind of “tween” (children aged 10-14) ghost story emerged. Through examining multiple examples of tween ghost stories (such as Wait Till Helen Comes by Mary Downing Hahn, Stonewords by Pam Conrad, and Time Windows by Kathryn Reiss), this paper illustrates the ways in which these stories are remarkably consistent in nature, and then investigates this sub-genre’s specific and consistent articulation of the struggle of moving away from childhood and into the teenage years. By using a ghost to create a situation so off balance (a ghost who is stuck, a protagonist who is in flux), the tween ghost story is uniquely and cleverly designed to help the protagonist navigate through the scary situation of growing up.

The world today is globalized like never before and with countries becoming more multicultural it is important to strive towards an intercultural society. This essay aims to answer the question “In what ways can one teach representation in the intercultural classroom through fantasy literature?”. That is, to illustrate and exemplify how one can use fantasy literature in the English classroom to give students intercultural knowledge through discussions on representation and intersectionality. The discussions in the essay are based in the democratic values stated in the Swedish course curriculum for upper secondary school (Gy11) in relation to the theoretical background. With examples from the book Who Fears Death by Nnedi Okorafor, the essay breaches both difficult and sensitive subjects that can be discussed to make certain issues less alien for the reader. Cultural diversity is magical and it is important that students get the right tools to form deep relationships across cultural borders, and the fantasy genre is a great tool to use in the classroom to lessen these bridges between different cultures since the genre creates an arena for intercultural meetings where ‘the other’ is in focus, which reduces the alienating aspect of different cultures and identities.

Institutions of higher learning have required students to take general education courses since such they were conceived and implemented in the 1940s. Requirements vary widely across institutions, but there is a broad consensus that a literature course be required in order to graduate. While these courses feature many types of literature, one literary field is overwhelmingly overlooked: young adult literature. Brigham Young University has recently implemented a young adult literature course that will fulfill a general education requirement. This case study examines the question, "What might be the rationale for including a course in young adult literature as part of the general education curriculum?" The findings of this case study suggest teaching YA literature as a GE course benefits students' emotional and intellectual intelligence. Drawing on observations, interviews, students' work, and students' reflections, analysis concludes that young adult literature has the ability to be used in a university general education class to successfully teach intellectual abilities and to impart and improve emotional intelligence.

The popular Harry Potter series serves as the basis for my study of the oracles that appear throughout the series. By focusing specifically on Professor Sybill Trelawney, Ron Weasley, and the Sorting Hat, I show the relationships between Harry Potter and the Oracles. I also focus on a few of Trelawney's various methods of Divination and her prophecies.

"You Must Climb The Tree If You Want to Eat The Fruits" will teach your child or children the invaluable lesson of hard work and persistence. It teaches children about the invaluable lesson of hard work and persistence in order to partake of good things. In this story, Roland sets out to climb an age old tree called "Vine Grove." Vine Grove was full of juicy, tempting and ripe fruits. Day after day, Roland sat under the tree and dreamt about eating the fruits. He thought it was impossible to climb the tree because it was a very big tree. Twice he attempted to climb the tree but he fell down and could not reach the fruits. Roland became desperate to eat of its fruits. Finally one day, Roland embarks on this life changing journey of climbing the tree and eating the fruits on the tree. / https://dc.etsu.edu/etsu_books/1079/thumbnail.jpg