Stylistics and children’s literature

This article constitutes an introduction to the five articles that appear in this special issue. This framing process starts by highlighting the sparse, yet important, work that has been conducted over the past 20 years on children’s literature in the field of stylistics. The focus in the article then turns to a more general discussion on the language of children’s literature. Here, in this chronological overview of language usage in books written for children, an outline is sketched from the writers and philosophers of the enlightenment up to contemporary debates on literacy, cognition and theory of mind. In the section that follows, the five studies that appear in this special issue are briefly synopsized. What becomes apparent is the wide range of methodological approaches that have been taken by the scholars in question to analyze the texts that are under investigation, in both quantitative and qualitative ways. The article ends with a plea for more stylistic work to be conducted in the areas of both children’s literature and young adult fiction. This is especially pertinent because stylisticians possess the key linguistic and analytic skills and tools to help, in interdisciplinary settings, to address current social, emotional and cognitive challenges pertaining to child development through literacy and through reading in particular.

Their Own Devices: Steampunk Airships as Heterotopias of Crisis and Deviance

Michel Foucault uses a sailing vessel as the exemplar of his theory of heterotopia because of its mobility. The lateral and vertical mobility of the steampunk airship indicates the potential for an even greater exemplar of heterotopia, particularly of Foucault’s defining principles of heterotopic crisis and deviance. These principles are explored onboard the steampunk airships of Scott Westerfeld’s Leviathan trilogy and Gail Carriger’s Finishing School series, resulting in travel towards progressive social frontiers of gender and race. The protagonists of the Leviathan trilogy move from a position of crisis to deviance, as mediated through the friendship and romance of two representatives of warring factions. In contrast, the heroine of the Finishing School series moves from deviance to crisis as she navigates the vagaries of gender and racial identity. These airship heterotopias of young adult fiction, which not only descend geographically but also socially, cross liminal crisis spaces of class, race, gender, and identity to craft literary cartographies for these social frontiers, providing readers with literary maps for their uncertain real worlds of crisis.

New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age

<p>Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a trip to Ireland. She must decide whether she follows in the footsteps of her sister who died by suicide or whether she chooses life for herself and what her life will look like. Whiti Hereaka’s Bugs follows the development of Bugs, who turns 17 about half-way through the novel. She faces low expectations and institutional discrimination at school and must make decisions about her future. While Bugs chooses to stay; her personal growth is like that of Tara who leaves. In Kate De Goldi’s The 10PM Question, we engage with 12-year-old Frankie, who struggles with anxiety and a permanently house-bound mother. Like the protagonists of the other novels, Frankie must determine who he is by forming his first strong friendship with a teenager of the opposite sex and by questioning the adults around him. He, too, must make decisions which contradict the actions of his family. All three, Tara, Bugs and Frankie, are supported in this process by friends and extended family, and, as we will see, these characters come to play crucial roles in each protagonist’s identity formation. What this thesis shows is that their stories are both universal and local. All three novels include common elements of Young Adult fiction about identity formation and coming-of-age and they are firmly located in New Zealand by way of incorporating uniquely New Zealand national myths. These myths shape our collective identities and adolescence is a time when teenagers form theirs. It is during this time that they explicitly notice and, at times, question the myths that they have been raised to believe in. This thesis is concerned with Overseas Experience (OE) as a way to develop one’s sense of self and broadening one’s horizons, the egalitarian myth or the belief that ‘we are all equal here’, and the ‘she’ll be right’ myth, the assumption that things will somehow right themselves. It seeks to explore what these novels suggest about the three different national myths of New Zealand and their role in identity formation. It will also discuss whether different views are presented.</p>

New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age

<p>Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a trip to Ireland. She must decide whether she follows in the footsteps of her sister who died by suicide or whether she chooses life for herself and what her life will look like. Whiti Hereaka’s Bugs follows the development of Bugs, who turns 17 about half-way through the novel. She faces low expectations and institutional discrimination at school and must make decisions about her future. While Bugs chooses to stay; her personal growth is like that of Tara who leaves. In Kate De Goldi’s The 10PM Question, we engage with 12-year-old Frankie, who struggles with anxiety and a permanently house-bound mother. Like the protagonists of the other novels, Frankie must determine who he is by forming his first strong friendship with a teenager of the opposite sex and by questioning the adults around him. He, too, must make decisions which contradict the actions of his family. All three, Tara, Bugs and Frankie, are supported in this process by friends and extended family, and, as we will see, these characters come to play crucial roles in each protagonist’s identity formation. What this thesis shows is that their stories are both universal and local. All three novels include common elements of Young Adult fiction about identity formation and coming-of-age and they are firmly located in New Zealand by way of incorporating uniquely New Zealand national myths. These myths shape our collective identities and adolescence is a time when teenagers form theirs. It is during this time that they explicitly notice and, at times, question the myths that they have been raised to believe in. This thesis is concerned with Overseas Experience (OE) as a way to develop one’s sense of self and broadening one’s horizons, the egalitarian myth or the belief that ‘we are all equal here’, and the ‘she’ll be right’ myth, the assumption that things will somehow right themselves. It seeks to explore what these novels suggest about the three different national myths of New Zealand and their role in identity formation. It will also discuss whether different views are presented.</p>

Actors and Aliens: Representations of Teenage Protagonists in Bestselling YA Fiction

<p>This project explores the representation of teenagers in some of the most popular Young Adult Fiction (YA) books of the early 2010s. A dominant assumption within the scholarly discussion of YA is that YA books are books for young people that feature protagonists with whom young people personally identify. Through an analysis of nine American YA books, this thesis offers an overview of the sorts of protagonists often found in the novels on New Zealand’s YA bestseller lists. Reporting results from a questionnaire and one-on-one interviews conducted with young YA readers, it explores whether or not this model of being a teenager is one with which young people do actually identify. Using Erving Goffman’s 1959 theory of impression management as a lens, this thesis explores how the protagonists of the selected novels see their world as a stage upon which they are expected to act out socially acceptable roles. While female protagonists use strategies to meet this pressure and emerge as competent social actors, male protagonists find themselves governed by forces beyond their control that render them social aliens. Whereas female protagonists face negative consequences for being themselves, male protagonists are rewarded for doing so. Regardless of their acting ability, all protagonists are represented as confused, insecure and troubled. The selected texts thus support stereotypes about teenage girls, teenage boys and young people in general that differ from those of the past but are ultimately no less problematic. The participants in this project’s small mixed-methods study shared this view of the protagonists but did not generally identify with them. While they enjoyed reading these books, this was not necessarily because of the protagonists, for whom they felt more concern than empathy. Rather than reflecting any kind of ‘truth’ about what it means to be a teenager, it seems that the protagonists of the selected texts reflect how adult authors, editors and booksellers imagine teenagers to be. This is a significant finding given the rising numbers of adults who are reading YA and the declining numbers of teenagers who are reading for pleasure.</p>

Actors and Aliens: Representations of Teenage Protagonists in Bestselling YA Fiction

<p>This project explores the representation of teenagers in some of the most popular Young Adult Fiction (YA) books of the early 2010s. A dominant assumption within the scholarly discussion of YA is that YA books are books for young people that feature protagonists with whom young people personally identify. Through an analysis of nine American YA books, this thesis offers an overview of the sorts of protagonists often found in the novels on New Zealand’s YA bestseller lists. Reporting results from a questionnaire and one-on-one interviews conducted with young YA readers, it explores whether or not this model of being a teenager is one with which young people do actually identify. Using Erving Goffman’s 1959 theory of impression management as a lens, this thesis explores how the protagonists of the selected novels see their world as a stage upon which they are expected to act out socially acceptable roles. While female protagonists use strategies to meet this pressure and emerge as competent social actors, male protagonists find themselves governed by forces beyond their control that render them social aliens. Whereas female protagonists face negative consequences for being themselves, male protagonists are rewarded for doing so. Regardless of their acting ability, all protagonists are represented as confused, insecure and troubled. The selected texts thus support stereotypes about teenage girls, teenage boys and young people in general that differ from those of the past but are ultimately no less problematic. The participants in this project’s small mixed-methods study shared this view of the protagonists but did not generally identify with them. While they enjoyed reading these books, this was not necessarily because of the protagonists, for whom they felt more concern than empathy. Rather than reflecting any kind of ‘truth’ about what it means to be a teenager, it seems that the protagonists of the selected texts reflect how adult authors, editors and booksellers imagine teenagers to be. This is a significant finding given the rising numbers of adults who are reading YA and the declining numbers of teenagers who are reading for pleasure.</p>

Fiction readers' advisory services in New Zealand public libraries : an investigation into how personal reading habits and other factors affect the confidence of library staff who answer adult or young adult fiction readers' advisory queries

<p>Fiction readers' advisory is the act of assisting a library borrower to find their next piece of fiction to read for leisure purposes. This is a significant part of public library work for staff members who work face-to-face with library borrowers. The confidence of library staff members who provide these services is therefore an important issue. It was hypothesised that a number of factors would influence the confidence of staff who answer fiction readers' advisory enquiries, including the amount and kind of pleasure reading undertaken, library size, years of library experience, and training. An online questionnaire was used to survey a sample of frontline public library staff members in New Zealand to gather data about readers' advisory services in public libraries in this country, as very little research has been undertaken here in this area. There was an excellent response to the survey invitation, and 130 completed questionnaires were received. Survey respondents' confidence about answering fiction readers' advisory enquiries was positively correlated with several factors, including amount and breadth of personal reading, length of public library service, kind of training received, and number of readers' advisory tools available. Negative correlations were suggested between library qualifications and confidence, and library size and confidence. Other factors which may influence confidence were also identified, such as library staff morale, having sufficient time for answering enquiries properly, and time for pleasure reading.</p>

Fiction readers' advisory services in New Zealand public libraries : an investigation into how personal reading habits and other factors affect the confidence of library staff who answer adult or young adult fiction readers' advisory queries

<p>Fiction readers' advisory is the act of assisting a library borrower to find their next piece of fiction to read for leisure purposes. This is a significant part of public library work for staff members who work face-to-face with library borrowers. The confidence of library staff members who provide these services is therefore an important issue. It was hypothesised that a number of factors would influence the confidence of staff who answer fiction readers' advisory enquiries, including the amount and kind of pleasure reading undertaken, library size, years of library experience, and training. An online questionnaire was used to survey a sample of frontline public library staff members in New Zealand to gather data about readers' advisory services in public libraries in this country, as very little research has been undertaken here in this area. There was an excellent response to the survey invitation, and 130 completed questionnaires were received. Survey respondents' confidence about answering fiction readers' advisory enquiries was positively correlated with several factors, including amount and breadth of personal reading, length of public library service, kind of training received, and number of readers' advisory tools available. Negative correlations were suggested between library qualifications and confidence, and library size and confidence. Other factors which may influence confidence were also identified, such as library staff morale, having sufficient time for answering enquiries properly, and time for pleasure reading.</p>

Ragged Fortunes and Swashbuckling Thrillers; Or, Recreating the Victorian in Young Adult Fiction 1985-2011

<p>The Victorian era has become a fashionable setting for contemporary young adult fiction. Studies of the contemporary pseudo-Victorian novel have focussed almost entirely upon fiction for adults. Scarcely any attention has been paid to their young adult equivalents — the subject of this thesis. Despite being marketed as “historical” fiction, these works do not adopt actual Victorian history as its basis but are influenced by the literature of the time instead. The chief inspirations are authors such as Dickens and Conan Doyle rather than Victorian children’s classics. After demonstrating the appropriation of Victorian literature in the young adult novels of Pullman, Bajoria, Updale, and Lee, I discuss the function of this Victorian dimension. The nineteenth-century “essential” categories under study here — London, prostitutes, opium dens, orphans, detectives — once embodied Victorian anxieties regarding class, social upheaval, gender politics, colonial guilt, and nationalism. But when contemporary writers evoke Victorian ghosts, they are putting forth their own world view. Consequently, these texts are doubly haunted. Heavy with Victorian ideologies, they simultaneously propagate new fears (for instance, terrorism) and appeal to contemporary sensitivities (particularly feminism). Where Victorian values do not align with the authors’ own, they are challenged and “updated”. Whenever they are made to agree, the reader is confronted with assumptions and prejudices that echo disturbingly through the centuries.</p>