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Artykuły w czasopismach na temat „Young adult fiction, Greek”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

Athanasiou-Krikelis, Lissi. "Representing Turks in Greek Children's and Young Adult Fiction". International Research in Children's Literature 13, nr 1 (lipiec 2020): 76–91. http://dx.doi.org/10.3366/ircl.2020.0329.

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What do Greek children learn about the Turk-Other from children's literature, and how does this image of the enemy inform their national Self? Has the representation of the Turk-Other remained static or do recent publications demonstrate a change in its portrayal? This article explores such questions in the context of contemporary Greek texts for children and young adults. The image of the Turk-soldier has been and remains overwhelmingly negative. The Turk who represents the Ottoman Empire is the vicious victimiser and ruthless conqueror. The Turk-friend, however, features a more complex conglomeration of attributes, some degrading and others elevating. Fictional histories, that is narratives with a strong inclination towards historical accuracy, are less favourable to the Turk-Other, aiming to preserve a homogenised version of the nation and to justify the deeds of war heroes. These observations persist throughout the twentieth century and do not deviate from the patterns found in adult literature. Nonetheless, in more recent publications the image of the Turk-Other is slightly more positive due to two related factors: the foregrounding of the weaknesses of the national Self and the problematising of the historical representation. By juxtaposing negative portrayals of both Turkish and Greek behaviours and by questioning historical truisms, the image of the Turk is being re-humanised.

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Papantonakis, Georgios. "Colonialism and Postcolonialism in Science Fiction for Greek Children". MANUSYA 13, nr 1 (2010): 24–43. http://dx.doi.org/10.1163/26659077-01301003.

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In contemporary Greek history we do not encounter the historical and social phenomena of colonialism or postcolonialism with the exception of cases where nations conquered Greek islands; the Dodecanese Islands and the Eptanisa (Seven Islands) were conquered by the English and the Italians, and Cyprus was conquered by the British in the Middle Ages and in contemporary times. These historical situations have been transferred into certain historical Greek fictions in adult literature and in the literature of children and young adult. The focus of this essay is on investigating and depicting colonialist attitudes and post-colonialist situations in science fiction for Greek Children. Initially, we attempt a brief introduction to the literature of children and young adults and mainly science fiction for children in Greece, and following this we outline the aims of our research. Then we define the terms “colonialism,” “postcolonialism” and the new suggested terms “historical colonialism” and “literary colonialism” and refer to their relationship with science fiction. This is due to the fact that the setting of these narratives “is dictated” by a group of events that the writers themselves have either brought about or believe will take place in the future. Afterwards we point out the criteria that are used to distinguish between five types of colonization in the texts and we investigate at greater length the role that children and adolescents play in the texts, as they participate actively as liberators and saviors, as protectors for peace and the environment or as characters that take on the roles of adults. The children and young adults remain passive spectators of a peaceful colonization or do not participate in the action since the heroes in the story are insects. In this case, they are limited to the role of reader. Through the study of these texts, we detect similarities to similar situations, both in antiquity and at a later date, or during contemporary times where similar policies in certain countries have been regarded. Finally, we realize that after the inversion of colonialism and the liberation of the colonized planets, these planets are governed democratically, according to Plato’s and Aristotle’s ideas on politics.

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Lalagianni, Vassiliki. "Understanding the Other: Alterity in Contemporary Greek Fiction for Young Adults". Bookbird: A Journal of International Children's Literature 47, nr 4 (2009): 50–56. http://dx.doi.org/10.1353/bkb.0.0194.

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Makowska, Kaja. "Young adult literature in translation: The state of research". Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, nr 16/4 (11.12.2019): 179–94. http://dx.doi.org/10.26881/bp.2019.4.07.

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The aim of the article is to examine the concept of young adult literature, provide its historical timeframe, identify its key components, and, finally, discuss young adult literature in translation by presenting the state of research on the topic. After analysing the concept of a young adult, the article moves on to provide a brief summary of adolescent fiction’s history, concluding that J. D. Salinger’s The Catcher in the Rye and S. E. Hinton’s The Outsiders largely contributed to the recognition of the genre. The paper mentions characteristic style choices employed by the authors of young adult fiction, the most prominent being the blend of registers or ‘code-switching’ between teen and adult speech, as acknowledged by Penelope Eckert and Chuck Wendig. Code-switching constitutes one of the main translation problems and is discussed at large in two compelling papers on the topic of young adult literature translation, namely Translating Young Adult Literature. The High Circulation Rate of Youth Language and Other Related Translation Problems in “The Catcher in the Rye” and “The Outsiders” by Saskia Tempert and Translating Young Adult Literature: Problems and Strategies. John Green`s “An Abundance of Katherines” by Loana Griguta. Both dissertations analyse the language of adolescent novels (in the twentieth and the twenty first century) and devise a list of strategies dedicated to adequately rendering English source versions into Dutch and Romanian, respectively. These writings indicate a growing interest in the field of young adult literature translation. The article expresses the hope that more scholars will elaborate on the topic.

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Tomin, Brittany. "Race in Young Adult Speculative Fiction ed. by Meghan Gilbert-Hickey and Miranda A. Green-Barteet". Science Fiction Studies 49, nr 2 (lipiec 2022): 392–96. http://dx.doi.org/10.1353/sfs.2022.0037.

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Hintz, Carrie. "Race in Young Adult Speculative Fiction ed. by Meghan Gilbert-Hickey and Miranda A. Green-Barteet". Children's Literature Association Quarterly 47, nr 2 (czerwiec 2022): 238–40. http://dx.doi.org/10.1353/chq.2022.0019.

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Green, Dani, i Angel Daniel Matos. "Right to Read: Reframing Critique: Young Adult Fiction and the Politics of Literary Censorship in Ireland". ALAN Review 44, nr 3 (21.06.2017): 54–60. http://dx.doi.org/10.21061/alan.v44i3.a.6.

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If you briefly peruse the American Library Association’s annual compilation of the “Top Ten Most Frequently Challenged Books,” it would not be farfetched for you to assume that censorship is an act that is nearly exclusive to children’s and young adult (YA) literature. The complex and close relationship between informational suppression and YA fiction should come as no surprise—authority figures and institutions often want to “protect” children and adolescents from ideas and depictions of realities that they consider harmful. At times, these parental and institutional forces outright question teenagers’ competence when it comes to comprehending and thinking through difficult social and literary issues. While YA literature is often susceptible to acts of censorship, is it possible that the very literary traits of this genre might provide us with the critical tools needed to counteract the suppression of information and ideas? To what extent do YA novels articulate ideas and critiques that other genres of literature refuse (or are unable) to discuss? This issue of The ALAN Review is particularly invested in expanding our understanding of YA literature by exploring the stories that can or cannot be told in different contexts, communities, and locations. While an understanding of the acts of censorship that occur in a US context offers us a glimpse into the tensions that arise between ideas, publishers, and target audiences, an examination of censorship in non-US contexts allows us to further understand the historical and cultural foundations that lead to the institutional suppression of knowledge. Additionally, a more global understanding of these issues could push us to understand the ways in which YA fiction thwarts censorship in surprising, unexpected ways. To nuance our understanding of censorship by adopting a more global perspective, I have collaborated with my friend and colleague Dani Green, who offers us an account of contemporary acts of censorship in Ireland and the ways in which Irish YA literature is particularly suited to express ideas that are deemed unspeakable and unprintable. Dani is a scholar of 19th-century British and Irish literature with an interest in issues of modernity, space, and narrative. As an academic who specializes in both historicist and poststructuralist study, Dani is particularly suited to think through the fraught historical and literary situation of contemporary Ireland and the ways in which YA fiction escapes (and perhaps challenges) the pressures of nationalistic censorship and self-censorship. In the following column, she provides us with a brief overview of the past and present state of censorship in Ireland, focusing particularly on how contemporary Irish writers steer away from offering critiques of Ireland’s economic growth during the mid-1990s to the early 2000s. After sharing this historical context, Dani conducts a case study in which she focuses on how Kate Thompson’sYA novel The New Policeman (2005) blends elements from fantasy and Irish mythology to both communicate and critique Ireland’s economic boom. By taking advantage of elements commonly found in YA texts, she argues that Thompson’s The New Policeman enables a cultural critique that is often impossible to achieve in other forms of Irish literature. Dani ultimately highlights the potential of YA fiction to turn censorship on its head through its characteristic implementation of genre-bending, formal experimentation, and disruption of the familiar.

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Ventura, Abbie. "Female Rebellion in Young Adult Dystopian Fiction ed. by Sara K. Day, Miranda A. Green-Barteet, and Amy L. Montz". Bookbird: A Journal of International Children's Literature 53, nr 2 (2015): 82–83. http://dx.doi.org/10.1353/bkb.2015.0029.

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Mootz, Kaylee Jangula. "Female Rebellion in Young Adult Dystopian Fiction ed. by Sara K. Day, Miranda A. Green-Barteet, and Amy L. Montz". Children's Literature Association Quarterly 40, nr 2 (2015): 208–10. http://dx.doi.org/10.1353/chq.2015.0019.

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Tan, Susan. "Female Rebellion in Young Adult Dystopian Fiction. Eds Sara K. Day, Miranda A. Green-Barteet and Amy L. Montz. Burlington, VT: Ashgate, 2014. 210 pages." International Research in Children's Literature 8, nr 1 (lipiec 2015): 100–102. http://dx.doi.org/10.3366/ircl.2015.0156.

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Davis, Aimee. "Adapting Elaine: Tennyson’s “The Lady of Shalott” and Feminist Young Adult Novels". ALAN Review 44, nr 3 (21.06.2017): 36–46. http://dx.doi.org/10.21061/alan.v44i3.a.4.

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One of the hallmarks of young adult literature is its focus on adolescent protagonists who struggle to reconcile what they want with what they are supposed to want. Indeed, some of the most enduring works of young adult literature, from L. M. Montgomery’s Anne of Green Gables (2006) to Judy Blume’s Forever (1975), place their young characters at a crossroads between cultural convention and individual desire. Foundational scholarship in the field of young adult fiction has suggested a recurring conflict in novels for young readers in which a protagonist finds himself or herself directly at odds with social expectations (McCallum, 1999; Trites, 2004). Furthermore, critics such as Trites (1997), Wilkie-Stibbs (2003), and Mallan (2009) have noted that many of these works concern an adolescent search for identity that is complicated by issues of gender politics, in which a protagonist’s grappling with conventional notions of masculinity and/or femininity is fundamental to a completed coming of age. In Waking Sleeping Beauty: Feminist Voices in Children’s Literature, Roberta Seelinger Trites (1997) argues that this kind of novel “demonstrate[s] characters ‘turning inward’ in ‘a search for identity’ because some form of environmental pressure has made them aware that they are not upholding socially sanctioned gender roles” (p. 2). In turn, these novels can become cathartic for adolescent readers, who may be facing similar struggles in the throes of real-life adolescence. Relying on the definition of a feminist novel established by Elaine Showalter (1977), Trites (1997) defines a “feminist children’s novel” as one “in which the main character is empowered regardless of gender,” or a novel in which “the child’s sex does not provide a permanent obstacle to her/his development. Although s/he will likely experience some gender-related conflicts, s/he ultimately triumphs over them” (p. 4). Though many novels fit this description, two bestselling young adult novels distinguish their adolescent female protagonists’ search for identity as inspired by the legends of Arthurian literature. Meg Cabot’s Avalon High (2006) and Libba Bray’s A Great and Terrible Beauty (2003) each reference the Arthurian legend of the Lady of Shalott—specifically the version that was retold and adapted by Alfred, Lord Tennyson in his 1842 poem “The Lady of Shalott.” Both novels use the characters, language, and symbolism from Tennyson’s poem to provide their heroines—and by extension, their adolescent readers—with a template through which they can understand, examine, and potentially reject the social codes that attempt to determine their behavior. In capitalizing on the ways in which Tennyson’s “The Lady of Shalott” enhanced and adapted the traditional Arthurian legend for a Victorian audience, Cabot and Bray access what Ann Howey (2007) calls the “constellation of association and meanings” (pp. 89–92) connected to the Lady of Shalott in the medieval and Victorian texts, many of which are distinctly feminist by Trites’s definition. In this article, I will argue that in drawing inspiration specifically from Tennyson’s “The Lady of Shalott,” Cabot’s and Bray’s novels develop their feminism through the framework of a Victorian narrative that is more thematically complex and more politically charged than any earlier, medieval version of the Lady of Shalott legend. Specifically, Cabot’s and Bray’s novels reflect the impact of feminist criticism of Tennyson’s poem found in the works of Victorian scholars Nina Auerbach (e.g., The Woman and the Demon: The Life of a Victorian Myth, 1982) and the team of Sandra Gilbert and Susan Gubar (e.g., Madwoman in the Attic, 1984). This foundational work identifies in Tennyson’s adaptation of the Lady of Shalott a dualistic and subversive set of alternatives that is not present in the medieval sources: her status as both a docile, passive figure who is “powerless in the face of the male” (Gilbert & Gubar, 1984, p. 618) and, simultaneously, as an icon of deviant and potentially powerful feminine desire. To identify the ways in which Cabot’s and Bray’s novels revise the Lady of Shalott narrative and embrace this subversion of traditional gender roles, I will first examine the Lady of Shalott narrative in medieval Arthurian literature and in Tennyson’s poem, focusing on how Tennyson’s enhancements to the tale transformed the Lady of Shalott into an iconic image of Victorian femininity. I will then demonstrate how Cabot and Bray employ revisionist strategies to adapt the gender politics of Tennyson’s poem for a 21st-century young adult readership, creating heroines who reject the passive qualities of the Lady of Shalott in favor of a more autonomous alternative and who, in doing so, model for adolescent readers a search for identity that results in self-identification and empowerment.

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MacRae, Cathi Dunn. "Presenting Young Adult Fantasy Fiction". English Journal 88, nr 3 (styczeń 1999): 115. http://dx.doi.org/10.2307/821601.

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Belbin, David. "What is young adult fiction?" English in Education 45, nr 2 (czerwiec 2011): 132–45. http://dx.doi.org/10.1111/j.1754-8845.2011.01094.x.

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White, Donna R. "Young Adult Science Fiction (review)". Lion and the Unicorn 24, nr 3 (2000): 473–75. http://dx.doi.org/10.1353/uni.2000.0036.

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Harrison, Jennifer. "Why Young Adult Speculative Fiction Matters". Libri et Liberi 7, nr 1 (11.09.2018): 172–73. http://dx.doi.org/10.21066/carcl.libri.2018-07(01).0009.

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Wilson, Kim. "Abjection in Contemporary Australian Young Adult Fiction". Papers: Explorations into Children's Literature 11, nr 3 (1.12.2001): 24–31. http://dx.doi.org/10.21153/pecl2001vol11no3art1325.

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Basu, Balaka. "Female Rebellion in Young Adult Dystopian Fiction". Contemporary Women's Writing 10, nr 1 (23.07.2015): 147–49. http://dx.doi.org/10.1093/cww/vpv013.

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Rochelle, Warren. "Young Adult Science Fiction (review)". Children's Literature Association Quarterly 25, nr 4 (2000): 223–24. http://dx.doi.org/10.1353/chq.0.1323.

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Mertz, Maia Pank. "Enhancing literary understandings through young adult fiction". Publishing Research Quarterly 8, nr 1 (marzec 1992): 23–33. http://dx.doi.org/10.1007/bf02680518.

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Markland, Anah-Jayne. "“Always Becoming”: Posthuman Subjectivity in Young Adult Fiction". Jeunesse: Young People, Texts, Cultures 12, nr 1 (czerwiec 2020): 208–14. http://dx.doi.org/10.3138/jeunesse.12.1.208.

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Cummins, Amy. "Dreamers: Living Undocumented in Contemporary Young Adult Fiction". Theory in Action 13, nr 2 (30.04.2020): 80–103. http://dx.doi.org/10.3798/tia.1937-0237.2023.

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Markland, Anah-Jayne. "“Always Becoming”: Posthuman Subjectivity in Young Adult Fiction". Jeunesse: Young People, Texts, Cultures 12, nr 1 (2020): 208–14. http://dx.doi.org/10.1353/jeu.2020.0014.

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Lee, Gabriela. "Past Selves, Future Worlds: Folklore and Futurisms in Science Fiction: Filipino Fiction for Young Adults". Comparative Critical Studies 19, nr 3 (październik 2022): 417–28. http://dx.doi.org/10.3366/ccs.2022.0456.

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Science fiction written specifically for young readers has had difficulty in establishing itself as a separate genre from fantasy, especially since there is a blurred notion of what constitutes fantasy vis-a-vis science fiction in children’s literature. This difficulty is reflected in the stumbling development of children’s and YA science fiction compared to the relatively clear development of children’s and YA fantasy. As such, trying to define what science fiction for young readers is takes on a malleable, inconsistent quality compared to the more established megatexts of science fiction for adult readers. It is through these unstable definitions of science fiction for adolescents that this essay examines how selected stories from the 2016 anthology Science Fiction: Filipino Fiction for Young Adults, the first anthology of Philippine sf writing that caters directly for a young adult audience, negotiate the genre definitions of ‘science fiction’ and ‘young adult’ for a non-Western audience. Studying how these imagined futures represent the experiences of young non-Western readers who have otherwise been excluded from YA science fiction reveals how the genre can widen and expand its parameters.

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Saxena, Vandana. "‘Live. And remember’: History, memory and storytelling in young adult holocaust fiction". Literature & History 28, nr 2 (14.09.2019): 156–74. http://dx.doi.org/10.1177/0306197319870380.

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Young adult fiction has emerged as a crucial pedagogical tool for Holocaust education. According to scholars and writers, it promotes empathy and also encourages the readers to become a part of the process of remembering. However, this field of storytelling also grapples with the dilemma of traumatic subject matter and its suitability for young readers. The humanist conventions of young adult fiction are often in conflict with the bleak and horrifying core of Holocaust literature. Young adult novelists have tried to deal with these problematic aspects by using multiple narrative strategies to integrate the memories of genocide and human rights abuse with the project of growth and socialisation that lies at the heart of young adult literature. This paper examines the narrative strategies that make young adult fiction an apt bearer and preserver of the traumatic past. Specifically, these strategies involve fantastical modes of storytelling, liminality and witness testimonies told to the second- and third-generation listeners. These strategies modify the humanist resolution of young adult narratives by integrating growth with collective responsibility.

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Russo, Stephanie. "Contemporary Girlhood and Anne Boleyn in Young Adult Fiction". Girlhood Studies 13, nr 1 (1.03.2020): 17–32. http://dx.doi.org/10.3167/ghs.2020.130103.

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Anne Boleyn has been narrativized in Young Adult (YA) historical fiction since the nineteenth century. Since the popular Showtime series The Tudors (2007–2010) aired, teenage girls have shown increased interest in the story of Anne Boleyn, Henry VIII’s second and most infamous queen. This construction of Boleyn suggests that she was both celebrated and punished for her proto-feminist agency and forthright sexuality. A new subgenre of Boleyn historical fiction has also recently emerged—YA novels in which her story is rewritten as a contemporary high school drama. In this article, I consider several YA novels about Anne Boleyn in order to explore the relevance to contemporary teenage girls of a woman who lived and died 500 years ago.

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Ball, Jonathan. "Young Adult Science Fiction as a Socially Conservative Genre". Jeunesse: Young People, Texts, Cultures 3, nr 2 (grudzień 2011): 162–74. http://dx.doi.org/10.3138/jeunesse.3.2.162.

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Keys, Wendy, Elizabeth Marshall i Barbara Pini. "Representations of rural lesbian lives in young adult fiction". Discourse: Studies in the Cultural Politics of Education 38, nr 3 (3.04.2017): 354–64. http://dx.doi.org/10.1080/01596306.2017.1306981.

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Ball, Jonathan. "Young Adult Science Fiction as a Socially Conservative Genre". Jeunesse: Young People, Texts, Cultures 3, nr 2 (2011): 162–74. http://dx.doi.org/10.1353/jeu.2011.0016.

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Nelson, Margaret K. "The Presentation of Donor Conception in Young Adult Fiction". Journal of Family Issues 41, nr 1 (14.08.2019): 33–61. http://dx.doi.org/10.1177/0192513x19868751.

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Using a thematic analysis, this study examines the presentation of donor conception in 30 books of fiction written for young adults. Most of the donor-conceived characters in these books live in single mother families, the majority are girls, and most have some kind of status as outsiders. Donor conception is presented differently depending on the type of family in which the teen lives. Children living with single mothers are most often endangered. Children living with lesbian-couple parents are most often marked as outsiders. Among children living with heterosexual-couple parents, donor conception is often presented as a significant issue that can unsettle family dynamics and lead to a search for the donor or donor siblings.

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Talli, Ioanna, i Polyxeni Emmanouil. "Reading and Non-word Repetition Skills in Bilingual Developmental Dyslexia: The Case of a Greek - Italian Bilingual Dyslexic Adult". International Journal of Education 12, nr 2 (8.05.2020): 30. http://dx.doi.org/10.5296/ije.v12i2.17010.

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Studies of bilinguals with developmental dyslexia learning to read in two alphabetic orthographies have shown that they demonstrate similar reading and phonological short-term memory (STM) deficits in both their languages. The present study aimed at exploring whether dyslexia in adults affects similarly decoding skills in two transparent languages, Greek and Italian, whether there are similar deficits in phonological STM and whether the dominance of one of the two languages affects the manifestation of the deficits. We compared the performance of a young Greek-Italian bilingual dyslexic adult (exposed to Italian from birth, L1: Greek) to that of a young monolingual Greek dyslexic adult, a young Greek-Italian typically developing (TD) bilingual adult (exposed to Italian from birth, L1: Greek) and a young Greek monolingual TD adult. We assessed them in word and non-word reading and non-word repetition. Results showed that bilingual dyslexic adult performed significantly poorer than the bilingual TD adult on all tasks in both languages, suggesting that dyslexia affects similarly decoding and phonological STM across languages. On reading, bilingual outperformed monolingual dyslexic, while monolingual outperformed bilingual TD adult. On phonological STM, both bilinguals outperformed monolinguals. A positive effect of bilingualism was found for reading skills only for dyslexics, while it was found for phonological STM for both dyslexic and TD adults. Finally, the dominance of L1 affected bilinguals' performance in reading but not in non-word repetition, where they showed better performance in Italian, perhaps due to the phonotactic complexity of the Greek orthography compared to Italian.

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Kyobutungi Tumwesigye, Alice Jossy. "Young Adult Vulnerabilities in the Fiction of a Ugandan Woman Writer". Global Research in Higher Education 5, nr 1 (8.03.2022): p22. http://dx.doi.org/10.22158/grhe.v5n1p22.

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Questions of identity, power, autonomy and vulnerability carry a particular weight in cultures that have emerged from colonialism. Although few writers of fiction focus on the conflicts between African and European characters, a focus on power and marginalisation remains. One category in which this focus may be plainly seen is writing for and about young people. The study’s aim was to analyse young adult fiction written by a Ugandan female author, Barbara Kimenye to investigate this writing to find out how young adult vulnerability is depicted in literature. Although literature targeting young people in Uganda has flourished and though issues of limited representation have been scrutinised in literary studies, like gender discrimination, very limited attention has been accorded young adult representation in literature. This research analyses fiction written by a female author Barbara Kimenye to expand knowledge about the criticism of young adult representation in literature with particular focus on young adult vulnerability in an adult dominated world. The methodology was mainly qualitative research design, where a document analysis method was used to aid analysis and make critical appreciation of the fictional works. The study investigated the state of young adult characters in literature with special focus on their vulnerability.

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Masson, Sophie. "No Traveller Returns: The Liminal World as Ordeal and Quest in Contemporary Young Adult Afterlife Fiction". Papers: Explorations into Children's Literature 26, nr 1 (1.01.2018): 60–81. http://dx.doi.org/10.21153/pecl2018vol26no1art1090.

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In recent years, fiction specifically set in or about the afterlife has become a popular, critically acclaimed subgenre within contemporary fiction for young adults. One of the distinguishing aspects of young adult afterlife fiction is its detailed portrayal of an alien afterworld in which characters find themselves. Whilst reminiscent of the world-building of high or quest fantasy, afterworlds in young adult afterlife fiction have a distinctively different quality, and that is an emphasis on liminality. Afterlife landscapes exhibit many strange, treacherous qualities. They are never quite what they seem, and this sense of a continually shifting multiplicity is part of the destabilisation experienced by the characters in the liminal world of the afterlife. Inspired by traditional but diverse images of afterlife, afterworld settings also incorporate aspects of dream-space as well as of the real, material world left behind by the characters. The uncanny world of the dead is not just background in these novels, but crucial to the development of narrative and character. In this paper, it is argued that the concept of liminal place is at the core of the central ordeal and quest of characters in young adult afterlife fiction. It explores how authors have constructed the individual settings of their fictional afterworlds and examines the significance of the liminal nature of the afterworlds depicted in young adult afterlife fiction.

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Adami, Valentina. "The Pedagogical Value of Young-Adult Speculative Fiction: Teaching Environmental Justice through Julie Bertagna’s Exodus". Pólemos 13, nr 1 (24.04.2019): 127–47. http://dx.doi.org/10.1515/pol-2019-0007.

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Abstract The environmental crisis is one of the most pressing societal concerns today. Speculative fiction frequently questions current political, legal and cultural attitudes by portraying future scenarios in which some ecological disaster has changed the world order. Scottish children’s author Julie Bertagna has given her contribution to these speculations on the consequences of letting current trends in environmental behaviour continue unchallenged with her young-adult novel Exodus (2002), part of a trilogy continued in 2007 with Zenith and completed in 2011 with Aurora. This paper explores the pedagogical value of young-adult speculative fiction and examines Bertagna’s survival narrative as a questioning of environmental justice, in the light of contemporary theories on young-adult fiction, ecocriticism and human rights.

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Ventura, Abbie. "Abandonment and Invisible Children in Contemporary Canadian Young Adult Fiction". Jeunesse: Young People, Texts, Cultures 6, nr 2 (grudzień 2014): 174–80. http://dx.doi.org/10.3138/jeunesse.6.2.174.

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Cronshaw, Darren. "Beyond Divisive Categorization in Young Adult Fiction: Lessons from Divergent". International Journal of Public Theology 15, nr 3 (27.10.2021): 426–45. http://dx.doi.org/10.1163/15697320-01530008.

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Abstract Veronica Roth’s Divergent is a young adult fiction and movie franchise that addresses issues of political power, social inequity, border control, politics of fear, gender, ethnicity, violence, surveillance, personal authenticity and mind control. It is possible a large part of the popularity of the series is its attention to these issues which young Western audiences are concerned about. The narrative makes heroes of protagonists who become activists for justice and struggle against oppressive social-political systems. What follows is a literary analysis of Divergent, evaluating its treatment of public theology and social justice themes, and discussing implications for Christian activism, especially for youth and young adults. It affirms the ethos in the books of resisting oppression, and questions assumptions about gender and abuse, violence and imperial control, personal authenticity and categorization, and difference and sameness.

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Michaels, Wendy. "The Realistic Turn: Trends in Recent Australian Young Adult Fiction". Papers: Explorations into Children's Literature 14, nr 1 (1.01.2004): 49–59. http://dx.doi.org/10.21153/pecl2004vol14no1art1277.

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Bieber, Ada, i Richard Gooding. "Streams of Consciousness: The Downriver Narrative in Young Adult Fiction". International Research in Children's Literature 13, nr 1 (lipiec 2020): 61–75. http://dx.doi.org/10.3366/ircl.2020.0328.

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This article draws on adaptation and genre theory to argue that the downriver narrative constitutes a distinct genre in literature for youth. This genre is characterised by a repertoire of narrative elements including alternations between the river as a space of reflection and refuge, social interactions that occur on land, and the social and political commentary voiced by the river travellers. These patterns appear in diverse cultural and historical contexts, as exemplified by Auguste Lazar's Jan auf der Zille [Jan on the barge] (1934/1950), Richard Scrimger's Into the Ravine (2007), and David Almond's Heaven Eyes (2000). Published in Germany, Canada, and the UK, these novels deploy episodic accounts of journeying downstream to perform a range of cultural work, including articulating discourses about citizenship and nationhood, raising critical awareness about questions of difference, and promulgating Romantic models of childhood.

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Spencer, Kerry. "Marketing and sales in the U.S. young adult fiction market". New Writing 14, nr 3 (10.04.2017): 429–43. http://dx.doi.org/10.1080/14790726.2017.1307419.

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Smith, Louisa. "Limitations on Young Adult Fiction: An Interview with Chris Crutcher". Lion and the Unicorn 16, nr 1 (1992): 66–74. http://dx.doi.org/10.1353/uni.0.0125.

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Schmidt, Gary D. "The Distant Mirror: Reflections on Young Adult Historical Fiction (review)". Lion and the Unicorn 31, nr 1 (2007): 67–71. http://dx.doi.org/10.1353/uni.2007.0008.

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Head, Patricia. "Robert Cormier and the Postmodernist Possibilities of Young Adult Fiction". Children's Literature Association Quarterly 21, nr 1 (1996): 28–33. http://dx.doi.org/10.1353/chq.0.1267.

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Hateley, Erica. "Sink or Swim?: Revising Ophelia in Contemporary Young Adult Fiction". Children's Literature Association Quarterly 38, nr 4 (2013): 435–48. http://dx.doi.org/10.1353/chq.2013.0061.

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Vandana Saxena. "Growing‐up Drag: Cross‐Dressed Heroines in Young Adult Fiction". Feminist Studies in English Literature 20, nr 3 (grudzień 2012): 271–309. http://dx.doi.org/10.15796/fsel.2012.20.3.010.

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Ventura, Abbie. "Abandonment and Invisible Children in Contemporary Canadian Young Adult Fiction". Jeunesse: Young People, Texts, Cultures 6, nr 2 (2014): 174–80. http://dx.doi.org/10.1353/jeu.2014.0017.

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Hilbun, Janet. "The Role of Protestant Christianity in Young Adult Realistic Fiction". Journal of Religious & Theological Information 7, nr 3-4 (kwiecień 2009): 181–201. http://dx.doi.org/10.1080/10477840903103481.

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Kidd, K. "Environmental Crisis in Young Adult Fiction: A Poetics of Earth". Interdisciplinary Studies in Literature and Environment 21, nr 3 (30.09.2014): 706–7. http://dx.doi.org/10.1093/isle/isu111.

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Gibson Yates, Sarah. "Writing digital culture into the young adult novel". Book 2.0 10, nr 1 (1.05.2020): 59–70. http://dx.doi.org/10.1386/btwo_00020_1.

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This article investigates how creative fiction writing has responded to the problem of representing the multimodal landscape of digital culture in young adult literature (YAL). Twenty years ago, Dresang’s theory of Radical Change presented a new breed of digitally engaged YAL that addressed changes in thinking about digital technologies and how young people interacted with them. Nikolajeva predicted the phenomenon three years earlier arguing for YAL coming of age as a literary form. In this article, I argue for the necessity of this work to continue, from the perspective of author-practitioner, and for the importance for authors to develop an expanded writing practice that foregrounds formal experiment that both reflects and critiques the thematic concerns and practices of digital culture. I begin by presenting some context for the work, in the form of a brief discussion of formal experimentation within selected YAL, and then go on to discuss my methods and approaches. This creative writing practice research has been undertaken during the course of Ph.D. study that has explored combining dramatic and multimodal writing techniques into a traditional prose fiction text, in this case a novel, aimed for YAL readers.

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Bowden, Chelsea. "Transphobic tropes in contemporary young adult novels about queer gender". Australasian Journal of Popular Culture 10, nr 1 (1.12.2021): 65–77. http://dx.doi.org/10.1386/ajpc_00039_1.

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This article identifies the dominant modes of discourse and critiques the problematic tropes and conventions at work in a selection of contemporary young adult fiction novels about young people with queer gender identities. Beginning with the role of young adult fiction, the importance of resisting models of binary gender, the trope of coming out and the convention of the hero’s journey, this article then analyses transphobic tropes: how the narrative lens of pathos functions in these texts to reduce the queer to a state of victimization, invisibility, mental illness, otherness, isolation and not belonging. This article uses the phrase ‘queer genders’ and the term ‘trans*’ to encompass transgender, non-binary, genderqueer, genderfluid and other gender non-conforming identities. ‘Trans’ without the asterisk is the shortened form of ‘transgender’.

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Zelezinskaya, N. S. "Young adult literature as a mirror of the society". Voprosy literatury 1, nr 1 (20.02.2020): 159–75. http://dx.doi.org/10.31425/0042-8795-2020-1-159-175.

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The article discusses contemporary young adult and post-adolescent literatures, which respond to the modern world with its catastrophes and challenges in a more acute manner than fiction for adults. A new literary genre, the problem young adult novel needs a comprehensive literary analysis. The age bracket of the genre, which is still open for discussion, is examined by the author in detail. While young adult fiction has a different agenda from children’s literature, it often surpasses ‘grown-up’ books in terms of issues raised and their relevance, which is especially true for the problem young adult novel, typically centred on a specific problem of modern society and featuring a teenage protagonist fighting for his/her survival. The main themes of the genre include deadly diseases, trauma, adaptation of special children in the society, suicide, abuse, murder, drugs, terrorism, and others. Little discussed and often tabooed in class or at home, these topics are raised by young adult literature, while teenagers get a chance to examine them and relive their anxieties with protagonists.

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Kennon, Patricia. "‘Belonging’ in Young Adult Dystopian Fiction: New Communities Created by Children". Papers: Explorations into Children's Literature 15, nr 2 (1.07.2005): 40–49. http://dx.doi.org/10.21153/pecl2005vol15no2art1249.

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In lieu of abstract, here is the first paragraph of the article: In this paper I will discuss the role that young adults play in the creation of new communities governed by young people in four dystopian novels set during the fragmentation of society in the near future. I will focus on novels narrated by or focalised through the perspective of young female protagonists, as these narratives offer intriguing explorations of young women's utopian capacity for leadership and for re-visioning traditional power relations and social structures. In their exploration of their own subjectivities, the young female protagonists must address the claims of individual self-actualisation while re-assessing the validity and appeal of traditional hierarchical systems of authority located in a radically changed and hostile world. Novels such as Meg Rosoff’s How I Live Now (2004), O.T. Nelson’s The Girl Who Owned a City (1995), Marcus Sedgwick’s Floodland (2000) and Gary Kilworth’s The Electric Kid (1994) explore how the impact of the abrupt absence of parental control and adult surveillance results in the young protagonists’forced creation and development of new concepts of community, family and ‘belonging’. Inherited hierarchical systems of individual identity and the larger social and political world are challenged during the characters' struggles for survival in these novels as the young protagonists display considerable courage, creativity and ‘heroic’ attributes in their efforts to survive and also to protect other younger children in their care. As such, these dystopian stories offer opportunities to explore gender role stereotypes and their reformulation by young people during situations which require both the conventional ‘masculine’ qualities such as leadership, bravery and endurance and also ‘feminine’ attributes such as nurturing, collaborative teamwork and compassion.

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