Academic literature on the topic 'YOUNG ADULT FICTION / Social Themes / Runaways'

Purpose Social justice themes permeate the social studies, history, civics, and current events curricula. The purpose of this paper is to examine how non-fiction trade books represented lesbian, gay, bisexual, transsexual, transgender, and queer (LGBTQ) individuals and issues. Design/methodology/approach Trade books published after 2000 and intended for middle grades (5-8) and high school (9-12) students were analyzed. Findings Findings included main characters’ demography, sexuality, and various ancillary elements, such as connection to LGBTQ community, interactions with non-LGBTQ individuals, the challenges and contested terrain that LGBTQ individuals must traverse, and a range of responses to these challenges. Publication date, intended audience, and subgenre of non-fiction – specifically, memoir, expository, and historical text – added nuance to findings. Viewed broadly, the books generally engaged in exceptionalism, a historical misrepresentation, of one singular character who was a gay or lesbian white American. Diverse sexualities, races, ethnicities, and contexts were largely absent. Complex resistance structures were frequent and detailed. Originality/value This research contributes to previous scholarship exploring LGBTQ-themed fiction for secondary students and close readings of secondary level non-fiction trade books.

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.

Many authors in recent years have worked to encourage the inclusion of disabled people and to show disability characters in a positive light. In order to accomplish this, they tend to produce counter-disability characters and scenarios to promote enablement. This textual analysis focuses on three young adult fictions that provide positive portrayals of protagonists with disability, including Out of My Mind (Draper, 2010), Five Flavors of Dumb (John, 2010) and Jerk, California (Friesen, 2008). Drawing on the social identity theory and the social model, this paper explores how the protagonists' disability identities are formed. Three themes emerged from the textual analysis: impairment and identity, which looked at the complex interactions between impairment and identity; community transformation, which analyzed factors causing both socially constructed disability and positive interaction; and positive disability identity, which examined how protagonists navigate challenges and form positive identity. This study may offer recommendations for educators, parents, and researchers who might utilize this study to advance and build an inclusive society.

Postmodern forms of young adult literature encourage readers to not only question and challenge the status quo but to implement changes to the world around them.—Realistic YA fiction works like Wonder by R.J. Palacio and The Absolutely True Diary of a Part-Time Indian by Sherman Alexie are no exception to this phenomenon.—Both push young readers to view people with disabilities and people from unfortunate economic circumstances from empathetic rather than sympathetic perspectives.—Realistic picturebooks, specifically ones that explore concepts of disabilities and social class, also play a role in classrooms with older children. Works like—Fly Away Home by Eve Bunting and Keeping Up With Roo by Sharlee Mullins Glenn both address social class and disabilities but do so in a potentially superficial—and stereotypical way. This does not mean that such works are without value in upper-age classrooms since they provide a basic introduction to these concepts.—This article takes on four separate and brief studies that discuss how the selection of the aforementioned texts can speak to students who have been ostracized by—the schools they attend. Each section analyzes themes, ideologies, representations of accuracy and authenticity, and classroom applications to illustrate how the—careful selection of realistic fiction can lead to quality instruction.

Young Adult science fiction is a growing body of work in the science fiction genre that encourages its readers to envision, evaluate, and question contemporary and future real-world incidents. This paper explores the effect of narrative transportation on young adult readers of Robert Heinlein's Space Cadet, a YA science fiction novel. One of the main aspects narrative transportation theory examines is how literature fosters teens' understanding and awareness of themselves and of issues important to them. In this sense, Space Cadet engages the young adult reader with its narrative, its characters, and other significant sociopolitical notions like gender roles, the representation of “other,” and the politics of racism. Thus, by being immersed in the narrative and engaging with the explicit and implicit themes represented in the novel, transported young adult readers, we argue, may participate in changing existing social and political notions and (re)constructing their individuality through absorbing the traits, beliefs, and responsibilities of the fictitious juvenile protagonist and his experience, as well.

This participatory case study, which consisted of a co-designed virtual program through the Camrose Public Library, investigates how teen readers engage with the social justice themes in YA fiction, how and if they find these themes useful for understanding and engaging in activism on their own, and the influence of public library programming on these actions. I approached my research from a teen-centred perspective, inviting the youth who participated to make adjustments to each stage of the process. My research design, data collection, and data analysis were informed by critical ethnography as theory and reader-response theory. This case study found that, on their own, neither social activism narratives nor library programs motivate teens to conduct social justice actions; instead, they contribute to a network of learning opportunities and information that leads to teens becoming motivated to make a difference in their communities. Thus, public libraries can provide teen programming that uses social activism narratives and collaborative discussions to teach teens more about social justice issues, show them how to get involved in social justice movements, and instill in them the confidence to do so.

What began as a simple request for a book by one of my former students, at times, has not been so simple. The student, whom I refer to as Carla (name changed), hoped to read about characters similar to herself and her friends. As a teacher, I have often tried to hook my students on reading by presenting books with characters to which they can relate. These books can help increase their overall knowledge of the world, open their minds to multiple realities and variations of the human experience and provide scenarios in which they can live vicariously. Carla’s request was a bit more complicated than I had imagined. As a “Deaf” student who attended a state school for the Deaf and who viewed herself as a member of a linguistic cultural minority, she expected to read a book with characters who used American Sign Language and who participated as members within the Deaf Community. She did not want to read didactic books about deafness but wanted books with unpredictable plots and believable characters. Having graduated from a teacher-preparation program in Deaf Education, I had read numerous books about deafness. While memoirs and biographical selections had been relatively easy to acquire and were on my bookshelf, I had not once read any fictional books for adolescents that included a deaf character. (I refer to ‘Deaf’ as representing individuals who identify in a linguistic, cultural minority group. The term ‘deaf’ is used as a more generic term given to individuals with some degree of hearing loss. In other articles, ‘deaf’ has been used pejoratively or in connection to a view by those who believe one without the sense of hearing is inferior or lacking. I do not believe or wish to imply that. ) As a High School teacher with so many additional work responsibilities outside of classroom teaching, finding fictional books with deaf characters was somewhat of a challenge. Nevertheless, after some research I was able to recommend a book that I thought would be a good summer read. Nancy Butts’ Cheshire Moon (1992) is charming book about thirteen-year-old Miranda who is saddened by her cousin’s death and furious at her parents' insistence that she speak rather than sign. The plot turns slightly mystical when the teens begin having similar dreams under the “Cheshire moon”. Yet, the story is about Miranda, a deaf girl, who struggles with communication. Without her cousin, the only member of her family who was fluent in sign language, communication is difficult and embarrassing. Miranda feels isolated, alienated, and unsure of herself. Because of the main character’s age, the book was not the best recommendation for a high school student; however, when Carla finished Cheshire Moon, she asked for another book with Deaf characters. Problem & Purpose Historically, authors have used deafness as a literary device to relay various messages about the struggles of humankind and elicit sympathy from readers (Batson & Bergman; Bergman; Burns; Krentz; Panara; Taylor, "Deaf Characters" I, II, III; Schwartz; Wilding-Diaz). In recent decades, however, the general public’s awareness of and perhaps interest in deaf people has risen along with that of our increasingly multicultural world. Educational legislation has increased awareness of the deaf as has news coverage of Gallaudet University protests. In addition, Deaf people have benefited from advances in communicative technology, such as Video Relay (VRS) and instant messaging pagers, more coordinated interpreting services and an increase in awareness of American Sign Language. Authors are incorporating more deaf characters than they did in the past. However, this increase does not necessarily translate to an increase in understanding of the deaf, nor does it translate to the most accurate, respectably, well-rounded characterization of the deaf (Pajka-West, "Perceptions"). Acquiring fictional books that include deaf characters can be time-consuming and challenging for teachers and librarians. The research examining deaf characters in fiction is extremely limited (Burns; Guella; Krentz; Wilding-Diaz). The most recent articles predominately focus on children’s literature — specifically picture books (Bailes; Brittain). Despite decades of research affirming culturally authentic children’s literature and the merits of multicultural literature, a coexisting body of research reveals the lack of culturally authentic texts (Applebee; Campbell & Wirtenberg; Ernest; Larrick; Sherriff; Taxel). Moreover, children’s books with deaf characters are used as informational depictions of deaf individuals (Bockmiller, 1980). Readers of such resource books, typically parents, teachers and their students, gain information about deafness and individuals with “disabilities” (Bockmiller, 1980; Civiletto & Schirmer, 2000). If an important purpose for deaf characters in fiction is educational and informational, then there is a need for the characters to be presented as realistic models of deaf people. If not, the readers of such fiction gain inaccurate information about deafness including reinforced negative stereotypes, as can occur in any other literature portraying cultural minorities (Pajka-West, "Perceptions"). Similar to authors’ informational depictions, writers also reveal societal understanding of groups of people through their fiction (Banfield & Wilson; Panara; Rudman). Literature has often stigmatized minority culture individuals based upon race, ethnicity, disability, gender and/or sexual orientation. While readers might recognize the negative depictions and dismiss them as harmless stereotypes, these portrayals could become a part of the unconscious of members of our society. If books continually reinforce stereotypical depictions of deaf people, individuals belonging to the group might be typecast and discouraged into a limited way of being. As an educator, I want all of my students to have unlimited opportunities for the future, not disadvantaged by stereotypes. The Study For my doctoral dissertation, I examined six contemporary adolescent literature books with deaf characters. The research methodology for this study required book selection, reader sample selection, instrument creation, book analysis, questionnaire creation, and data analysis. My research questions included: 1) Are deaf characters being presented as culturally Deaf characters or as pathologically deaf and disabled; 2) Do these readers favor deaf authors over hearing ones? If so, why; and, 3) How do deaf and hearing adult readers perceive deaf characters in adolescent literature? The Sample The book sample included 102 possible books for the study ranging from adolescent to adult selections. I selected books that were recognized as suitable for middle school or high school readers based upon the reading and interest levels established by publishers. The books also had to include main characters who are deaf and deaf characters who are human. The books selected were all realistic fiction, available to the public, and published or reissued for publication within the last fifteen years. The six books that were selected included: Nick’s Secret by C. Blatchford; A Maiden’s Grave by J. Deaver; Of Sound Mind by J. Ferris; Deaf Child Crossing by M. Matlin; Apple Is My Sign by M. Riskind; and Finding Abby by V. Scott. For the first part of my study, I analyzed these texts using the Adolescent Literature Content Analysis Check-off Form (ALCAC) which includes both pathological and cultural perspective statements derived from Deaf Studies, Disability Studies and Queer Theory. The participant sample included adult readers who fit within three categories: those who identified as deaf, those who were familiar with or had been acquaintances with deaf individuals, and those who were unfamiliar having never associated with deaf individuals. Each participant completed a Reader-Response Survey which included ten main questions derived from Deaf Studies and Schwartz’ ‘Criteria for Analyzing Books about Deafness’. The survey included both dichotomous and open-ended questions. Research Questions & Methodology Are deaf characters being presented as culturally Deaf or as pathologically deaf and disabled? In previous articles, scholars have stated that most books with deaf characters include a pathological perspective; yet, few studies actually exist to conclude this assertion. In my study, I analyzed six books to determine whether they supported the cultural or the pathological perspective of deafness. The goal was not to exclusively label a text either/or but to highlight the distinct perspectives to illuminate a discussion regarding a deaf character. As before mentioned, the ALCAC instrument incorporates relevant theories and prior research findings in reference to the portrayals of deaf characters and was developed to specifically analyze adolescent literature with deaf characters. Despite the historical research regarding deaf characters and due to the increased awareness of deaf people and American Sign Language, my initial assumption was that the authors of the six adolescent books would present their deaf characters as more culturally ‘Deaf’. This was confirmed for the majority of the books. I believed that an outsider, such as a hearing writer, could carry out an adequate portrayal of a culture other than his own. In the past, scholars did not believe this was the case; however, the results from my study demonstrated that the majority of the hearing authors presented the cultural perspective model. Initially shocking, the majority of deaf authors incorporated the pathological perspective model. I offer three possible reasons why these deaf authors included more pathological perspective statements while the hearing authors include more cultural perspective statements: First, the deaf authors have grown up deaf and perhaps experienced more scenarios similar to those presented from the pathological perspective model. Even if the deaf authors live more culturally Deaf lifestyles today, authors include their experiences growing up in their writing. Second, there are less deaf characters in the books written by deaf authors and more characters and more character variety in the books written by the hearing authors. When there are fewer deaf characters interacting with other deaf characters, these characters tend to interact with more hearing characters who are less likely to be aware of the cultural perspective. And third, with decreased populations of culturally Deaf born to culturally Deaf individuals, it seems consistent that it may be more difficult to obtain a book from a Deaf of Deaf author. Similarly, if we consider the Deaf person’s first language is American Sign Language, Deaf authors may be spending more time composing stories and poetry in American Sign Language and less time focusing upon English. This possible lack of interest may make the number of ‘Deaf of Deaf’ authors, or culturally Deaf individuals raised by culturally Deaf parents, who pursue and are successful publishing a book in adolescent literature low. At least in adolescent literature, deaf characters, as many other minority group characters, are being included in texts to show young people our increasingly multicultural world. Adolescent literature readers can now become aware of a range of deaf characters, including characters who use American Sign Language, who attend residential schools for the Deaf, and even who have Deaf families. Do the readers favor deaf authors over hearing ones? A significant part of my research was based upon the perceptions of adult readers of adolescent literature with deaf characters. I selected participants from a criterion sampling and divided them into three groups: 1. Adults who had attended either a special program for the deaf or a residential school for the deaf, used American Sign Language, and identified themselves as deaf were considered for the deaf category of the study; 2. Adults who were friends, family members, co-workers or professionals in fields connected with individuals who identify themselves as deaf were considered for the familiar category of the study; and, 3. hearing adults who were not aware of the everyday experiences of deaf people and who had not taken a sign language class, worked with or lived with a deaf person were considered for the unfamiliar category of the study. Nine participants were selected for each group totaling 27 participants (one participant from each of the groups withdrew before completion, leaving eight participants from each of the groups to complete the study). To elicit the perspectives of the participants, I developed a Reader Response survey which was modeled after Schwartz’s ‘Criteria for Analyzing Books about Deafness’. I assumed that the participants from Deaf and Familiar groups would prefer the books written by the deaf authors while the unfamiliar participants would act more as a control group. This was not confirmed through the data. In fact, the Deaf participants along with the participants as a whole preferred the books written by the hearing authors as better describing their perceptions of realistic deaf people, for presenting deaf characters adequately and realistically, and for the hearing authors’ portrayals of deaf characters matching with their perceptions of deaf people. In general, the Deaf participants were more critical of the deaf authors while the familiar participants, although as a group preferred the books by the hearing authors, were more critical of the hearing authors. Participants throughout all three groups mentioned their preference for a spectrum of deaf characters. The books used in this study that were written by hearing authors included a variety of characters. For example, Riskind’s Apple Is My Sign includes numerous deaf students at a school for the deaf and the main character living within a deaf family; Deaver’s A Maiden’s Grave includes deaf characters from a variety of backgrounds attending a residential school for the deaf and only a few hearing characters; and Ferris’ Of Sound Mind includes two deaf families with two CODA or hearing teens. The books written by the deaf authors in this study include only a few deaf characters. For example, Matlin’s Deaf Child Crossing includes two deaf girls surrounded by hearing characters; Scott’s Finding Abby includes more minor deaf characters but readers learn about these characters from the hearing character’s perspective. For instance, the character Jared uses sign language and attends a residential school for the deaf but readers learn this information from his hearing mother talking about him, not from the deaf character’s words. Readers know that he communicates through sign language because we are told that he does; however, the only communication readers are shown is a wave from the child; and, Blatchford’s Nick’s Secret includes only one deaf character. With the fewer deaf characters it is nearly impossible for the various ways of being deaf to be included in the book. Thus, the preference for the books by the hearing authors is more likely connected to the preference for a variety of deaf people represented. How do readers perceive deaf characters? Participants commented on fourteen main and secondary characters. Their perceptions of these characters fall into six categories: the “normal” curious kid such as the characters Harry (Apple Is My Sign), Jeremy (Of Sound Mind) and Jared (Finding Abby); the egocentric spoiled brat such as Palma (Of Sound Mind) and Megan (Deaf Child Crossing); the advocate such as Harry’s mother (Apple Is My Sign) and Susan (A Maiden’s Grave); those dependent upon the majority culture such as Palma (Of Sound Mind) and Lizzie (Deaf Child Crossing); those isolated such as Melissa (Finding Abby), Ben (Of Sound Mind), Nick (Nick’s Secret) and Thomas (Of Sound Mind); and, those searching for their identities such as Melanie (A Maiden’s Grave) and Abby (Finding Abby). Overall, participants commented more frequently about the deaf characters in the books by the hearing authors (A Maiden’s Grave; Of Sound Mind; Apple Is My Sign) and made more positive comments about the culturally Deaf male characters, particularly Ben Roper, Jeremy and Thomas of Of Sound Mind, and Harry of Apple Is My Sign. Themes such as the characters being dependent and isolated from others did arise. For example, Palma in Of Sound Mind insists that her hearing son act as her personal interpreter so that she can avoid other hearing people. Examples to demonstrate the isolation some of the deaf characters experience include Nick of Nick’s Secret being the only deaf character in his story and Ben Roper of Of Sound Mind being the only deaf employee in his workplace. While these can certainly be read as negative situations the characters experience, isolation is a reality that resonates in some deaf people’s experiences. With communicative technology and more individuals fluent in American Sign Language, some deaf individuals may decide to associate more with individuals in the larger culture. One must interpret purposeful isolation such as Ben Roper’s (Of Sound Mind) case, working in a location that provides him with the best employment opportunities, differently than Melissa Black’s (Finding Abby) isolating feelings of being left out of family dinner discussions. Similarly, variations in characterization including the egocentric, spoiled brat and those searching for their identities are common themes in adolescent literature with or without deaf characters being included. Positive examples of deaf characters including the roles of the advocate such as Susan (A Maiden’s Grave) and Harry’s mother (Apple Is My Sign), along with descriptions of regular everyday deaf kids increases the varieties of deaf characters. As previously stated, my study included an analysis based on literary theory and prior research. At that time, unless the author explicitly told readers in a foreword or a letter to readers, I had no way of truly knowing why the deaf character was included and why the author made such decisions. This uncertainty of the author’s decisions changed for me in 2007 with the establishment of my educational blog. Beginning to Blog When I started my educational blog Deaf Characters in Adolescent Literature in February 2007, I did not plan to become a blogger nor did I have any plans for my blog. I simply opened a Blogger account and added a list of 106 books with deaf characters that was connected to my research. Once I started blogging on a regular basis, I discovered an active audience who not only read what I wrote but who truly cared about my research. Blogging had become a way for me to keep my research current; since my blog was about deaf characters in adolescent literature, it became an advocacy tool that called attention to authors and books that were not widely publicized; and, it enabled me to become part of a cyber community made up of other bloggers and readers. After a few months of blogging on a weekly basis, I began to feel a sense of obligation to research and post my findings. While continuing to post to my blog, I have acquired more information about my research topic and even received advance reader copies prior to the books’ publication dates. This enables me to discuss the most current books. It also enables my readers to learn about such books. My blog acts as free advertisement for the publishing companies and authors. I currently have 195 contemporary books with deaf characters and over 36 author and professional interviews. While the most rewarding aspect of blogging is connecting with readers, there have been some major highlights in the process. As I stated, I had no way of knowing why the deaf character was included in the books until I began interviewing the authors. I had hoped that the hearing authors of books with deaf characters would portray their characters realistically but I had not realized the authors’ personal connections to actual deaf people. For instance, Delia Ray, Singing Hands, wrote about a Deaf preacher and his family. Her book was based on her grandfather who was a Deaf preacher and leading pioneer in the Deaf Community. Ray is not the only hearing author who has a personal connection to deaf people. Other examples include: Jean Ferris, Of Sound Mind, who earned a degree in Speech Pathology and Audiology. Ferris’ book includes only two hearing characters, the majority are Deaf. All of her characters are also fluent in American Sign Language; Jodi Cutler Del Dottore, Rally Caps, who includes a deaf character named Luca who uses a cochlear implant. Luca is based on Cutler Del Dottore’s son, Jordan, who also has a cochlear implant; finally, Jacqueline Woodson, Feathers, grew up in a community that included deaf people who did not use sign language. As an adult, she met members of the Deaf Community and began learning American Sign Language herself. Woodson introduces readers to Sean who is attractive, funny, and intelligent. In my study, I noted that all of the deaf characters where not diverse based upon race, ethnicity, and socio-economic status (Pajka-West, "Perceptions"). Sean is the first Deaf American-African character in adolescent literature who uses sign language to communicate. Another main highlight is finding Deaf authors who do not receive the mainstream press that other authors might receive. For example, Ann Clare LeZotte, T4, introduces readers to main character Paula Becker, a thirteen year old deaf girl who uses sign language and lipreading to communicate. Through verse, we learn of Paula’s life in Germany during Hitler’s time as she goes into hiding since individuals with physical and mental disabilities were being executed under the orders of Hitler’s Tiergartenstrasse 4 (T4). One additional highlight is that I learn about insider tips and am then able to share this information with my blog readers. In one instance I began corresponding with Marvel Comic’s David Mack, the creator of Echo, a multilingual, biracial, Deaf comic book character who debuted in Daredevil and later The New Avengers. In comics, it is Marvel who owns the character; while Echo was created for Daredevil by Mack, she later appears in The New Avengers. In March 2008, discussion boards were buzzing since issue #39 would include original creator, Mack, among other artists. To make it less complicated for those who do not follow comics, the issue was about whether or not Echo had become a skrull, an alien who takes over the body of the character. This was frightening news since potentially Echo could become a hearing skrull. I just did not believe that Mack would let that happen. My students and I held numerous discussions about the implications of Marvel’s decisions and finally I sent Mack an email. While he could not reveal the details of the issue, he did assure me that my students and I would be pleased. I’m sure there was a collective sigh from readers once his email was published on the blog. Final Thoughts While there have been pejorative depictions of the deaf in literature, the portrayals of deaf characters in adolescent literature have become much more realistic in the last decade. Authors have personal connections with actual deaf individuals which lend to the descriptions of their deaf characters; they are conducting more detailed research to develop their deaf characters; and, they appear to be much more aware of the Deaf Community than they were in the past. A unique benefit of the genre is that authors of adolescent literature often give the impression of being more available to the readers of their books. Authors often participate in open dialogues with their fans through social networking sites or discussion boards on their own websites. After posting interviews with the authors on my blog, I refer readers to the author’s on site whether it through personal blogs, websites, Facebook or Twitter pages. While hearing authors’ portrayals now include a spectrum of deaf characters, we must encourage Deaf and Hard of Hearing writers to include more deaf characters in their works. Consider again my student Carla and her longing to find books with deaf characters. Deaf characters in fiction act as role models for young adults. A positive portrayal of deaf characters benefits deaf adolescents whether or not they see themselves as biologically deaf or culturally deaf. Only through on-going publishing, more realistic and positive representations of the deaf will occur. References Bailes, C.N. "Mandy: A Critical Look at the Portrayal of a Deaf Character in Children’s Literature." Multicultural Perspectives 4.4 (2002): 3-9. Batson, T. "The Deaf Person in Fiction: From Sainthood to Rorschach Blot." Interracial Books for Children Bulletin 11.1-2 (1980): 16-18. Batson, T., and E. Bergman. Angels and Outcasts: An Anthology of Deaf Characters in Literature. Washington, D.C.: Gallaudet University Press (1985). Bergman, E. "Literature, Fictional characters in." In J.V. Van Cleve (ed.), Gallaudet Encyclopedia of Deaf People & Deafness. Vol. 2. Washington, D.C.: McGraw Hill, 1987. 172-176. Brittain, I. "An Examination into the Portrayal of Deaf Characters and Deaf Issues in Picture Books for Children." Disability Studies Quarterly 24.1 (Winter 2004). 24 Apr. 2005 < http://www.dsq-sds.org >. Burns, D.J. An Annotated Checklist of Fictional Works Which Contain Deaf Characters. Unpublished master’s thesis. Washington, D.C.: Gallaudet University,1950. Campbell, P., and J. Wirtenberg. How Books Influence Children: What the Research Shows. Interracial Books for Children Bulletin 11.6 (1980): 3-6. Civiletto, C.L., and B.R. Schirmer. "Literature with Characters Who Are Deaf." The Dragon Lode 19.1 (Fall 2000): 46-49. Guella, B. "Short Stories with Deaf Fictional Characters." American Annals of the Deaf 128.1 (1983): 25-33. Krentz, C. "Exploring the 'Hearing Line': Deafness, Laughter, and Mark Twain." In S. L. Snyder, B. J. Brueggemann, and R. Garland-Thomson, eds., Disability Studies: Enabling the Humanities. New York: Modern Language Association of America, 2002. 234-247. Larrick, N. "The All-White World of Children's Books. Saturday Review 11 (1965): 63-85. Pajka-West, S. “The Perceptions of Deaf Characters in Adolescent Literature”. The ALAN Review 34.3 (Summer 2007): 39-45. ———. "The Portrayals and Perceptions of Deaf Characters in Adolescent Literature." Ph.D. dissertation. University of Virginia, 2007. ———. "Interview with Deaf Author Ann Clare LeZotte about T4, Her Forthcoming Book Told in Verse." Deaf Characters in Adolescent Literature, 5 Aug. 2008. < http://pajka.blogspot.com/ 2008/08/interview-with-deaf-author-ann-clare.html >.———. "Interview with Delia Ray, Author of Singing Hands." Deaf Characters in Adolescent Literature, 23 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-delia-ray-author-of.html >.———. "Interview with Jacqueline Woodson, author of Feathers." Deaf Characters in Adolescent Literature, 29 Sep. 2007. < http://pajka.blogspot.com/ 2007/09/interview-with-jacqueline-woodson.html >. ———. "Interview with Jodi Cutler Del Dottore, author of Rally Caps." Deaf Characters in Adolescent Literature, 13 Aug. 2007. < http://pajka.blogspot.com/ 2007/08/interview-with-jodi-cutler-del-dottore.html >. Panara, R. "Deaf Characters in Fiction and Drama." The Deaf American 24.5 (1972): 3-8. Schwartz, A.V. "Books Mirror Society: A Study of Children’s Materials." Interracial Books for Children Bulletin 11.1-2 (1980): 19-24. Sherriff, A. The Portrayal of Mexican American Females in Realistic Picture Books (1998-2004). University of North Carolina, Chapel Hill: 2005. Taxel, J. "The Black Experience in Children's Fiction: Controversies Surrounding Award Winning Books." Curriculum Inquiry 16 (1986): 245-281. Taylor, G.M. "Deaf Characters in Short Stories: A Selective Bibliography. The Deaf American 26.9 (1974): 6-8. ———. "Deaf Characters in Short Stories: A Selective Bibliography II." The Deaf American 28.11 (1976): 13-16.———. "Deaf Characters in Short Stories: A Selective Bibliography III." The Deaf American 29.2 (1976): 27-28. Wilding-Diaz, M.M. Deaf Characters in Children’s Books: How Are They Portrayed? Unpublished master’s thesis. Provo, Utah: Brigham Young University, 1993.———. "Deaf Characters in Children’s Books: How Are They Perceived?" In Gallaudet University College for Continuing Education and B.D. Snider (eds.), Journal: Post Milan ASL & English Literacy: Issues, Trends & Research Conference Proceedings, 20-22 Oct. 1993.Adolescent Fiction Books Blatchford, C. Nick’s Secret. Minneapolis, MN: Lerner, 2000. Deaver, J. A Maiden’s Grave. New York: Signet, 1996. Ferris, J. Of Sound Mind. New York: Sunburst, 2004. Matlin, M. Deaf Child Crossing. New York: Aladdin Paperbacks, 2004. Riskind, M. Apple Is My Sign. Boston, MA: Houghton Mifflin, 1981. Scott, V. Finding Abby. Hillsboro, OR: Butte, 2000.

This study conducted a content analysis to examine the types of food and nutrition messages communicated in fictional stories aimed at children 4 to 8 years of age. The foundation of healthy eating is established at a young age. Parents play an instrumental role in the process of home‐based nutrition education. Picture books are uniquely positioned to inform young children about food, nutrition and related behaviors because they can be read multiple times and at parents’ convenience. Some reports indicate that 80 to 87 percent of parents read to their young children three or more times a week. Evidence suggests that an adult‐guided exposure to a single book makes a significant short‐term impact on child's food intake. Thus, it can be hypothesized that an assortment of age‐appropriate, engaging books may have a profound, long‐lasting influence on a child's eating habits. While some studies have examined types and frequencies of foods depicted in children's books, a comprehensive overview of a variety of food and nutrition messages in children's literature is lacking. This study attempted to fill this gap in knowledge. The Children's Core Collection and other databases were searched independently by three research assistants for fictional picture books in which food and nutrition were the main focus of the storyline. The final sample included 270 books published between 2000 and 2015. Stories were systematically coded using holistic, provisional, data‐driven, and evaluation coding methods, as discussed in The Coding Manual for Qualitative Researchers (Saldana, 2013). The mixed‐method analysis revealed four major messaging themes: food (history, life cycle, production, purchase, preparation) that represented 40% of the sample; food and nutrition behaviors (food preferences, table/dining manners, lifestyle choices, weight management), 29%; values (social skills, individuality, diversity, family, religion, food‐related traditions), 22%; sensations and emotions (hunger, food fears, cravings, enjoyment, comfort), 8%. Additionally, the examined books varied substantially in terms of their educational merit. Messages ranged from straightforward and positive to subject to interpretation/misinterpretation to questionable and potentially counterproductive, as the latter featured poor behaviors and vocabulary that some adults may find not suitable for their children. In conclusion, while there is a great variety of fictional picture books to facilitate the development of healthy eating habits in young children, the quality of their messaging about food and nutrition varies widely. Parents and educators are advised to carefully select and preview children's books to ensure that the language and information communicated in those books are consistent with one's personal values and child's maturity level.Support or Funding InformationNone

This article analyses two young adult (YA) novels about young men’s experience of anorexia nervosa (AN), within the dual contexts of medical humanities research into literary depictions of illness, and the broader field of YA literature about AN. While emphasising the importance of diverse literary narratives in order to raise awareness of the prevalence of AN in men and boys, and to contribute to the reduction of stigma, it also considers current research into the potentially harmful triggering effects of AN literature on vulnerable readers. It identifies Anne Percin’s Point de côté (Side Stitch) (2006) and Simon Boulerice’s Jeanne Moreau a le sourire à l’envers (Jeanne Moreau Has An Upside-Down Smile) (2013) as examples of good practice in AN literature, due to their thematic focus on male experience, and because they employ narrative strategies that disrupt reader identification with the anorexic character, and avoid focusing directly on potentially triggering descriptions of anorexic ideas and behaviour. They also contribute to diversifying the portrayal of AN via non-judgmental portrayal of lesbian, gay, bisexual, and transgender (LGBT) themes, a topic absent from equivalent YA novels currently available in English. The article further argues that literature—including fiction—contributes to the overall social and cultural discourse surrounding specific illnesses and is likely to affect patients’ real-world experiences, but that it is a specific kind of discourse in its own right, which demands to be read with the appropriate tools. Its detailed analysis of narrative voice alongside thematic content demonstrates how specific approaches from the field of literary studies may complement empirical research into literature and its place within mental health discourse.

Pornography is a fictional media genre that depicts sexual fantasies and explicitly presents naked bodies and sexual activities for the purpose of sexual arousal (Williams, 1989; McKee et al., 2020). Regarding media ethics and media effects, pornography has traditionally been viewed as highly problematic. Pornographic material has been accused of portraying sexuality in unhealthy, morally questionable and often sexist ways, thereby harming performers, audiences, and society at large. In the age of the Internet, pornography has become more diverse, accessible, and widespread than ever (Döring, 2009; Miller et al., 2020). Consequently, the depiction of sexuality in pornography is the focus of a growing number of content analyses of both mass media (e.g., erotic and pornographic novels and movies) and social media (e.g., erotic and pornographic stories, photos and videos shared via online platforms). Typically, pornography’s portrayals of sexuality are examined by measuring the prevalence and frequency of sexual practices or relational dynamics and related gender roles via quantitative content analysis (for research reviews see Carrotte et al., 2020; Miller & McBain, 2022). This entry focuses on the representation of performer demographics (such as sex/gender, age, and race/ethnicity) as one of eight important dimensions of the portrayals of sexuality in pornography. Field of application/theoretical foundation: In the field of pornographic media content research, different theories are used, mainly 1) general media effects theories, 2) sexual media effects theories, 3) gender role, feminist and queer theories, 4) sexual fantasy and desire theories, and different 5) mold theories versus mirror theories. The DOCA entry “Conceptual Overview (Portrayals of Sexuality in Pornography)” introduces all these theories and explains their application to pornography. The respective theories are applicable to the analysis of the depiction of performer demographics as one dimension of portrayals of sexuality in pornography. References/combination with other methods of data collection: Manual quantitative content analyses of pornographic material can be combined with qualitative (e.g., Keft-Kennedy, 2008) as well as computational (e.g., Seehuus et al., 2019) content analyses. Furthermore, content analyses can be complemented with qualitative interviews and quantitative surveys to investigate perceptions and evaluations of the portrayals of sexuality in pornography among pornography’s creators and performers (e.g., West, 2019) and audiences (e.g., Cowan & Dunn, 1994; Hardy et al., 2022; Paasoonen, 2021; Shor, 2022). Additionally, experimental studies are helpful to measure directly how different dimensions of pornographic portrayals of sexuality are perceived and evaluated by recipients, and if and how these portrayals can affect audiences’ sexuality-related thoughts, feelings, and behaviors (e.g., Kohut & Fisher, 2013; Miller et al., 2019). Example studies for manual quantitative content analyses: Common research hypotheses in relation to performer demographics state that pornography portrays sexuality in a sexist manner entailing violence towards and degradation of women, usually perpetrated by men. In addition, it is hypothesized that pornographic portrayals of sexuality are asymmetric in terms of showing men in superior and dominating, and women in subordinate and submissive, positions. This sex/gender asymmetry can be reflected in demographic variables such as social status (difference) or age (difference). Furthermore, mainstream pornography is critized for its racist portrayal of sexuality. This means that non-White performers are underrepresented and if they are represented are often depicted according to racial/ethnic stereotypes. To test such hypotheses and code pornographic material accordingly, it is necessary to clarify demographic concepts such as sex/gender, age, and race/ethnicity and use valid and reliable measures. It is important to note that in the context of pornographic content research, researchers conceptualize demographic characteristics differently and that two different approaches to coding are available: Direct coding based on the person’s appearance (e.g., apparent sex/gender, age or skin color) versus indirect coding based on meta-information about the material, such as the sub-genre category the material belongs to (e.g., pornography category “Asian” displaying Asian-looking performers or “Teen” displaying adult performers who look very young). If applying an intersectional theoretical framework (see DOCA entry “Conceptual Overview (Portrayals of Sexuality in Pornography)”) the researcher would need to code each performer in terms of multiple demographic variables. Coding Material Measure Operationalization (excerpt) Reliability Source Sex/gender: Most analyses of the way sexuality is portrayed in pornography hypothesize (or, at least, acknowledge the possibility) that men and women are depicted differently (e.g., that men are more likely to be depicted as the perpetrators of violent behaviors and that women are more likely to be depicted as recipients of violent behaviors). Accordingly, coding the sex/gender of performers is often essential to addressing research questions in this area. The term gender is often preferred when referring to people as groups, as gender reflects a social categorization, whereas sex reflects a biological categorization (American Psychological Association, 2020). While many content analyses of pornography address sex/gender differences they do not present any standardized measures for the demographic variable of sex/gender. The measure presented below is one of the rare exceptions, but it remains vague in its coding instructions and the meanings of the value “other”. N=50 segments (length 20 min. each) from a random sample of 50 bestselling pornographic films (1 segment per film) depicting a total of 1,109 sexual behaviors Sex/gender (based on performer appearance) “Coder’s perception of character’s sex based on primary and secondary sex characteristics.” Polytomous coding (1: male; 2: female; 3: other). Cohen’s Kappa: 1.0 Willis et al. (2020) Age: Performer age may be a variable of interest in its own right (e.g., if investigating whether pornography has a bias toward depicting performers in their early 20s). Alternatively, performer age may be recorded to investigate differential depictions by age group (e.g., investigating whether younger female performers are more likely to be depicted as submissive than older female performers). It should be noted that a performer’s age may be different to their character’s age (as is often the case in the legal pornography category “Teen”, where young characters are played by adult performers; Willis et al, 2020). It should be noted that reliable coding of age (of the performer or of the performed character) is difficult as tools such as make-up, costume, lighting, filters can greatly bias impressions. This problem is reflected in the available measures that cannot ensure sufficient reliability. N=50 best-selling pornographic videos and DVDs in Australia in 2003 with 838 sexual scenes Age of performer (based on performer appearance) Performer age. Polytomous coding (1: 18-30 years; 2: 31-40 years; 3: 41-50 years; 4: 51+ years). Not available McKee et al. (2008) N=50 segments (length 20 min. each) from a random sample of 50 bestselling pornographic films (1 segment per film) depicting a total of 1,109 sexual behaviors Age of character (based on character appearance) “Coder’s perception of character’s age—not the actor’s—based on physical appearance.” Note: some characters were clearly intended to be under 18 years of age, but their actors were likely older. Polytomous coding (1: <18; 2: 18-20; 3: 21-30; 4: 31-40; 5: 41-50; 6: >50 years). Cohen’s Kappa: .47 Willis et al. (2020) Race/Ethnicity: Critical analyses of racism in pornography address the mere visibility of different races/ethnicities as well as racial/ethnic stereotypes, such as Black men being depicted as sexually aggressive and well-endowed or Asian women being depicted as petite, submissive and docile (Miller & McBain, 2022). N=269 popular pornographic videos from different PornHub.com sub-genre categories Race/ethnicity (based on pornographic sub-genre category) Videos selected/coded according to race/ethnicity-related sub-genre categories on PornHub. Polytomous coding (1: “Asian/Japanese” PornHub categeory; 2: “Interracial” PornHub category; 3: “Ebony” PornHub category; 4: “Latina” PornHub category). Not applicable Shor & Seida (2019) N=45 pornographic videos from 15 different adult websites (3 videos per website) Race/ethnicity (based on performer appearance) Performers coded according to physical appearance. Binary coding (1: White; 2: non-White/other race). Not available Gorman et al. (2010) N=50 segments (length 20 min. each) from a random sample of 50 bestselling pornographic films (1 segment per film) depicting a total of 1,109 sexual behaviors Race/ethnicity (based on performer appearance) “Coder’s perception of character’s race based on physical appearance.” Polytomous coding (1: White; 2: Black; 3: Asian; 4: Latina/o; 5: Native American; 6: other). Cohen’s Kappa: .94 Willis et al. (2020) ReferencesAmerican Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.).Carrotte, E. R., Davis, A. C., & Lim, M. S. (2020). Sexual behaviors and violence in pornography: Systematic review and narrative synthesis of video content analyses. Journal of Medical Internet Research, 22(5), Article e16702. https://doi.org/10.2196/16702Cowan, G., & Dunn, K. F. (1994). What themes in pornography lead to perceptions of the degradation of women? Journal of Sex Research, 31(1), 11–21. https://doi.org/10.1080/00224499409551726Döring, N. (2009). The Internet’s impact on sexuality: A critical review of 15 years of research. Computers in Human Behavior, 25(5), 1089–1101. https://doi.org/10.1016/j.chb.2009.04.003Gorman, S., Monk-Turner, E., & Fish, J. N. (2010). Free adult internet web sites: How prevalent are degrading acts? Gender Issues, 27(3-4), 131–145. https://doi.org/10.1007/s12147-010-9095-7Hardy, J., Kukkonen, T., & Milhausen, R. (2022). Examining sexually explicit material use in adults over the age of 65 years. The Canadian Journal of Human Sexuality, 31(1), 117–129. https://doi.org/10.3138/cjhs.2021-0047Keft-Kennedy, V. (2008). Fantasising masculinity in Buffyverse slash fiction: Sexuality, violence, and the vampire. Nordic Journal of English Studies, 7(1), 49–80.Kohut, T., & Fisher, W. A. (2013). The impact of brief exposure to sexually explicit video clips on partnered female clitoral self-stimulation, orgasm and sexual satisfaction. The Canadian Journal of Human Sexuality, 22(1), 40–50. https://doi.org/10.3138/cjhs.935McKee, A. (2015). Methodological issues in defining aggression for content analyses of sexually explicit material. Archives of Sexual Behavior, 44(1), 81–87. https://doi.org/10.1007/s10508-013-0253-3McKee, A., Byron, P., Litsou, K., & Ingham, R. (2020). An interdisciplinary definition of pornography: Results from a global Delphi panel. Archives of Sexual Behavior, 49(3), 1085–1091. https://doi.org/10.1007/s10508-019-01554-4Miller, D. J., & McBain, K. A. (2022). The content of contemporary, mainstream pornography: A literature review of content analytic studies. American Journal of Sexuality Education, 17(2), 219–256. https://doi.org/10.1080/15546128.2021.2019648Miller, D. J., McBain, K. A., & Raggatt, P. T. F. (2019). An experimental investigation into pornography’s effect on men’s perceptions of the likelihood of women engaging in porn-like sex. 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Includes bibliographical references (leaves 123-127)
This dissertation examines how three dystopian texts, namely Aldous Huxley’s Brave New World, Jasper Fforde’s Shades of Grey and Veronica Roth’s Divergent trilogy, exhibit social conformity as a disciplinary mechanism of the ‘carceral’ – a notion introduced by poststructuralist thinker Michel Foucault. Employing poststructuralist discourse and deconstructive theory as a theoretical framework, the study investigates how each novel establishes its world as a successful carceral city that incorporates most, if not all, the elements of the incarceration system that Foucault highlights in Discipline and Punish. It establishes that the societies of the texts present potentially nightmarish future societies in which social and political “improvements” result in a seemingly better world, yet some essential part of human existence has been sacrificed. This study of these fictional worlds reflects on the carceral nature of modern society and highlights the problematic nature of the social and political practices to which individuals are expected to conform. Finally, in line with Foucault, it postulates that individuals need not be enclosed behind prison walls to be imprisoned; the very nature of our social systems imposes the restrictive power that incarcerates societies
English Studies
M.A. (English Studies)

This chapter discusses how it is notable that ‘speculative fiction’ – fiction that creates alternative worlds – frequently addresses themes of deviance, transgression and ordering. It identifies themes of surveillance and spectacle; hyperreality and virtual reality; memory and the suppression of history; and hierarchy and difference in dystopian fiction aimed at young adults – The Hunger Games (Collins, 2008), The Maze Runner (Dashner, 2009), Divergent (Roth, 2011) and Red Rising (Brown, 2014). The chapter explores the role of this fiction in cultural imaginings of social control, repression and resistance, and argues for greater criminological attention to novels, including bestselling fiction.