Tesi sul tema "FICTION / Romance / New Adult"

This thesis examines changes in the relationship between romance and realism in the New Zealand short story over a period of one hundred years, from approximately 1865 to 1965. I argue that the short story is inherently a romantic genre and that both realism and romance are constant elements. My purpose is to show an evolving pattern between the two modes of writing during the rise of realism which began in the nineteenth century and peaked in the postwar period. Because there is a fluctuating relationship between the two modes in New Zealand short fiction, it is possible, through the psychoanalytical approach to the stories which I employ, to establish the prevailing emotional climate of each era. Beginning with the colonial period, I show how the magazine influenced fiction writing by initiating some important changes to the European New Zealand short story. I discuss the attempt by male writers of the 1930s to dominate the literary scene by using realism as a weapon. Then, with Katherine Mansfield and Frank Sargeson as the models for postwar writers, I illuminate through my analysis of the texts, a new coalition of romantic realism.

Thesis (Ed.D.) -- Teachers College, Columbia University, 1995.
Includes tables. Typescript; issued also on microfilm. Sponsor: Florence McCarthy. Dissertation Committee: Allayne Sullivan. Includes bibliographical references (leaves 155-164).

Serving as an unfortunate benchmark for the twenty-first century, 9/11 has completely altered society’s perceptions of personal safety, security and social identity, along with provoking intense emotional reactions. One outlet for these resulting emotions has been through art and literature. Five years have since passed and contemporary authors are still struggling to accurately represent that tragic day and its consequent impression. This paper provides an analysis of how the events of 9/11 have been incorporated into adult fiction. Variations of themes related to psychology, interpersonal relationships, political and social perspectives, and heroism were found to be used most frequently among authors.

This thesis is a study of the representations of mothers and mother figures as found in five contemporary (published between 1984 and 1999) novels for teenagers. The focus is on western constructions of motherhood, as both normalising and universalising discourses. Utilising a variety of critical approaches this thesis examines the socio-cultural issues present in the novels in conjunction with western models of maternity. This study argues the category of mother is interdependent upon the category of child. As children's literature often focuses on the development of the child, the mother figures are often read as the “unconscious” of the texts. I examine the extent to which the mother figures are given a "subject-in-processness" (Lucas, 1998, p.39) subjectivity. The texts considered are The Changeover(First published in 1984) by Margaret Mahy; Greylands (1997) by lsobelle Carmody; Speaking to Miranda (First published in 1990) by Caroline Macdonald: Touching earth lightly (1996) by Margo Lanagan and Closed, Stanger(1999) by Kate De Goldi. In part, the selection of the texts has been based upon the various and multifaceted relationships between the mothers and the children. I use the Mahy text as a means to establish selected mother and, to a lesser degree, child characteristics. Some comparisons are made with this sole text of the 19805, in order to ascertain if there has been an evolution in the articulation of mother, figures in the 1990s. This study does not adopt a survey approach nor does it claim that the five novels present all the categories of "mother". Rather it addresses categories such as, mother as nurturer, as sexual being and, importantly, the dichotomy of the “good/bad" mother. Within western discourses of maternity, this latter category is still used as a model by which to label women who mother. This study considers the stability of this binary within the novels. This thesis relies upon close reading of the primary texts. The emphasis is on critical approaches that draw attention to contexts, with particular emphasis on the socio-cultural issues present in each particular novel. My readings suggest that there is the possibility for engagement with the texts' social content/comment, in conjunction with the representations of western models of maternity. I draw from a variety of motherhood discourses and theoretical approaches, including amongst others, the work of Luce Irigaray, HeIene Cixous, Judith Hennan, Martha Fineman, Rose Lucas, and Robyn McCallum.

In recent decades, male protagonists in Australian realist fiction for young adult readers have increasingly become more others-regarding, emotionally intelligent, and self-aware. (John Stephens 2000; Perry Nodelman 2002). Psychologist Roger Horrocks (1995) claims these protagonists are less “tendentious and more realistic” than male protagonists of the past. These boys, despite not bearing the hallmarks of hegemonic masculinity, develop subjective agency and ultimately propose new ways for young men to construct their gender identity. Using Phillip Gwynne’s (1998) Deadly Unna? and David Metzenthen’s (2000) Boys of Blood and Bone as case studies, and my own novel My Private Pectus as creative practice, I explore the construction and deconstruction of hegemonic, complicit, and alternative masculinities in Australian realist young adult fiction. I also analyse the construction of the New Age Boy—a label used by John Stephens for young male protagonists who develop positive self esteem because of their perceived gender differences compared to boys of the hegemonic masculine type. By critiquing the manner in which masculinities are constructed in each case study, and supporting my critique through the literature of leading gender theorists, I question the seemingly homogenous manner in which the New Age Boy gains agency. This question is further explored through my creative practice, as I put into dialogue a protagonist who also recognises his gender differences, but instead of proposing a new and better masculinity, he tries to adhere to and reap the rewards of hegemonic masculinity.

In recent decades, male protagonists in Australian realist fiction for young adult readers have increasingly become more others-regarding, emotionally intelligent, and self-aware. (John Stephens 2000; Perry Nodelman 2002). Psychologist Roger Horrocks (1995) claims these protagonists are less “tendentious and more realistic” than male protagonists of the past. These boys, despite not bearing the hallmarks of hegemonic masculinity, develop subjective agency and ultimately propose new ways for young men to construct their gender identity. Using Phillip Gwynne’s (1998) Deadly Unna? and David Metzenthen’s (2000) Boys of Blood and Bone as case studies, and my own novel My Private Pectus as creative practice, I explore the construction and deconstruction of hegemonic, complicit, and alternative masculinities in Australian realist young adult fiction. I also analyse the construction of the New Age Boy—a label used by John Stephens for young male protagonists who develop positive self esteem because of their perceived gender differences compared to boys of the hegemonic masculine type. By critiquing the manner in which masculinities are constructed in each case study, and supporting my critique through the literature of leading gender theorists, I question the seemingly homogenous manner in which the New Age Boy gains agency. This question is further explored through my creative practice, as I put into dialogue a protagonist who also recognises his gender differences, but instead of proposing a new and better masculinity, he tries to adhere to and reap the rewards of hegemonic masculinity.

The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets.
Dissertation (MIT)--University of Pretoria, 2017.
Information Science
MIS
Unrestricted

Behaviouralists consider adolescence a time for developing autonomy, which accords with Michel Foucault‘s power/knowledge dynamic that recognises individuals‘ assertion of independence as a crucial element within society. Surprisingly, however, twentieth-century New Zealand Young Adult (YA) fiction tends to disempower adolescents, by portraying an adultist version of them as immature and unprepared for adult responsibilities. By depicting events through characters‘ eyes, a focalising device that encourages reader identification with the narratorial point-of-view, authors such as Esther Glen, Isabel Maud Peacocke, Joyce West, Phillis Garrard, Tessa Duder, Lisa Vasil, Margaret Mahy, William Taylor, Kate de Goldi, Paula Boock, David Hill, Jane Westaway, and Bernard Beckett stress the importance of conforming to adult authority. Rites of passage are rarely attained; protagonists respect their elders, and juvenile delinquents either repent or are punished for their misguided behaviours. ―Normal‖ expectations are established by the portrayal of single parents who behave ―like teenagers‖: an unnatural role reversal that demands a return to traditional hegemonic roles. Adolescents must forgive adults‘ failings within a discourse that rarely forgives theirs. Depictions of child abuse, while deploring the deed, tend to emphasise victims‘ forbearance rather than admitting perpetrators‘ culpability. As Foucault points out, adolescent sexuality both fascinates and alarms adult society. Within the texts, sex is strictly an adult prerogative, reserved for reproduction within marriage, with adolescent intimacy sanctioned only between couples who conform to the middle-class ideal of monogamy. On the other hand, teenagers who indulge in casual sex are invariably given cause to regret. Such presentations operate vicariously to protect readers from harm, but also create an idealised, steadfast sense of adultness in the process.

This project is an exploration of 20th century dystopian literature through the lens of germ theory. This scientific principle, which emerged in the late 19th century, asserts that microorganisms pervade the world; these invisible and omnipresent germs cause specific diseases which are often life threatening. Additionally, germ theory states that vaccines and antiseptics can prevent some of these afflictions and that antibiotics can treat others. This concept of a pervasive, invisible, infection-causing other is not just a biological principle, though; in this paper, I argue that one can interpret it as an ideological framework for understanding human existence as a whole. Particularly, I believe that authors of prominent 20th century dystopian novels applied the tenets of germ theory in order to explore the potential “pathogens” that furtively exist within the human mind. These pseudo-germs are various human tendencies that, when left “untreated” by governments, create nonnormative members of society. In the eyes of dystopian regimes, it is precisely this nonnormativity that poses a lethal threat, in that it challenges the continued existence of society with the current ruling body at the helm. In this paper, I trace love (both sexual and familial) and individuation (as a function of social hierarchy, recreational activities, and the use of language) as social disease-causing pathogens in George Orwell’s 1984 and in Aldous Huxley’s Brave New World.

Die folgende Arbeit wird sich mit dem Thema Social Media als Kommunikationsinstrument für Young-/New-Adult-Romance-Verlagen auseinandersetzen. Social Media ist im Alltag der Menschen präsent. Viele Unternehmen nutzen die Plattformen, um sich zu präsentieren und Anzeigen zu schalten. Verlage setzen diese Möglichkeit der Werbung zwar schon ein, die Erfolge scheinen dabei aber nur mittelmäßig zu sein. Das Ziel der vorliegenden Arbeit ist es, mithilfe von Analysen zu den Social Media-Kanälen verschiedener Verlage und deren Erfolge, Handlungsempfehlungen für den Aufbau von Kundenbeziehungen durch Soziale Netzwerke aussprechen zu können. Die Forschungsfrage lautet dementsprechend: Inwiefern können Young-/New-Adult-Romance-Verlage durch die Integration von Kommunikationsmaßnahmen in Sozialen Netzwerken eine langfristige Kundenbindung aufbauen und aufrechterhalten? Dabei wurden elf Verlage, auf Grundlage von theoretischem Wissen, auf deren Engagement-Raten und Erfolge untersucht. Zudem wurden mit einem unabhängigen Verlag und einem konzerngeleiteten Imprint Interviews geführt, um ein Verständnis für diese zu bekommen. Unabhängig vom Interview wurden die Verlage tiefgehender zu deren Community-Arbeit analysiert. Die Untersuchungen zeigten, dass die Interaktion mit den Usern vonseiten des Verlages wichtig ist, um Engagement und Aktivität von diesen zu erwirken. Der Aufbau einer Community und deren Pflege schafft es die Zielgruppe langfristig an sich zu binden.:1. Einleitung 2. Theoretischer Überblick über Social Media 2.1. Die wichtigsten Informationen zu Social Media 2.2. Soziale Netzwerke und ihre Entwicklung 2.3. Status quo und Einordnung von Social Media im Marketing der Verlage 3. Identifizierung der Zielgruppe 3.1. Postmoderner Konsument nach GUTJAHR 3.2. Dimensionsmodell zur Systematisierung von Kontexteinflüssen nach THEOBALD 3.3. Genaue Zielgruppe 4. Kommunikation auf Social Media 4.1. Geeignete Plattformen für Young-/New-Adult-Romance-Verlage 4.2. Kommunikationsmöglichkeiten auf Instagram 4.3. Strategien zur Steigerung der Kundengewinnung 4.3.1. Werbung und Influencer 4.3.2. Unternehmensvision und -mission im Zusammenhang mit der Sympathie 4.4. Strategien zur Steigerung der Kundenbindung 4.4.1. Dialog, Interaktion und Engagement 4.4.2. Community-Aufbau und -Management 4.4.3. Sympathie und Vertrauen 4.5. Ziele und deren Erfolgsmessung 5. Analyse der Interaktionen verschiedener Verlage 5.1. Erläuterung der Vorgehensweise der 1. Analyse 5.2. Betrachtung der Interaktionen und Erfolge verschiedener Verlage 5.3. Erläuterung der Vorgehensweise der 2. Analyse 5.4. Betrachtung eines konzerngeleiteten Imprints am Beispiel von KYSS 5.4.1 Informationen aus dem Interview mit KYSS 5.4.2. Eigenständige Analyse des Instagram-Accounts von KYSS 5.5. Betrachtung des Unabhängigen Verlages 5.5.1. Informationen aus dem Interview mit dem Unabhängigen Verlag 5.5.2. Eigenständige Analyse des Instagram-Accounts vom Unabhängigen Verlag 6. Chancen und Grenzen, Möglichkeiten und Risiken 7. Handlungsempfehlung 8. Fazit Literaturverzeichnis Forschungsliteratur Online-Quellen Selbstständigkeitserklärung Anlagen

Thesis (Ph. D.)--University of Alberta, 2010.
Title from pdf file main screen (viewed on April 28, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English and Film Studies, University of Alberta. Includes bibliographical references.

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)