Young Writers' Club

1 of 2

Young Writers' Club

2 of 2 cracked

Young Writers' Club

1 of 7

Young Writers' Club

2 of 7

Young Writers' Club

3 of 7

Young Writers' Club

4 of 7

Young Writers' Club

5 of 7

Young Writers' Club

Boys and Girls Room

The Net and the Self: Colliding Views of Individuality and Nationhood in the Pre-Devolutionary plays of Mark Jenkins and Ed Thomas

Owen, Roger, 'The Net and the Self: Colliding Views of Individuality and Nationhood in the Pre-Devolutionary plays of Mark Jenkins and Ed Thomas', In: 'Cool Britannia: British Political Drama in the 1990s', Rebecca D'Mont? and Graham Saunders (eds), (Basingstoke: Palgrave Macmillan), pp.158-175, 2007 RAE2008

Moving beyond the rhetoric of provocation: the French and World War II in the novels of the Hussards (1949-1954)

In the immediate aftermath of the Second World War, only those who had opposed the Germans or were perceived to have done so could freely express themselves. Soon, however, three young writers clearly leaning to the right of the political spectrum – Antoine Blondin, Roger Nimier and Jacques Laurent – dared to challenge their narratives in a series of provocative novels published between 1949 and 1954. Quickly referred to as the Hussards after the publication in 1952 of a famous essay by Bernard Frank, these writers momentarily occupied the literary space left vacant by their older peers. Without denying the provocative, political and subversive dimensions of the Hussards’ war novels, this article will argue that their success was mainly due to the fact that they were largely in line – and not in contradiction – with the ‘horizon of expectations’ of their time (Jauss, 1982).

3 de los 39: reportajes sobre tres escritores jóvenes colombianos de Bogotá39

Juan Gabriel Vásquez, Ricardo Silva Romero y Antonio García Ángel son tres de los seis escritores colombianos del evento Bogotá39. Sus vidas y sus obras demuestran que para ser llamado promesa de la literatura lo que importa no es ser joven sino escribir bien.

Making the tacit explicit: children's strategies for classroom writing

A key highlight of this study is generating evidence of children ‘making aware the unaware’, making tacit knowledge explicit. The research explores the levels of awareness in thinking used by eight 7–8 year-old children when engaged in school-based genre writing tasks. The focus is on analysing children’s awareness of their thought processes, using a framework originally devised by Swartz and Perkins (1989), in order to investigate ways in which children can transform their tacit knowledge to explicit within the writing process. Classroom ‘think aloud’ protocols are used to help children ‘manage their knowledge transfer’, to speak the unspoken. In their framework Swartz and Perkins distinguish between four levels of thought that they view as hierarchical and ‘increasingly metacognitive.’ However, there is little evidence in this study to show that levels of awareness in thinking are increasingly progressive and observations made during the study suggest that young writers move in and out of the suggested levels of thinking during different elements of a writing task. The reasons for this may depend on a number of factors which are noted in this paper. Evidence does suggest children in this age group are consciously aware of their own and others’ thought processes both with and without adult prompting. By using collaborative talk, their awareness of these thought processes is highlighted enabling the co-construction and integration of new ideas into their existing knowledge base.

My generation(s): cycles, branding and renewal in E4’s 'Skins'

In an era of fragmenting audience and diversified viewing platforms, youth television needs to move fast and make a lot of noise in order to capture and maintain the attention of the teenage viewer. British ensemble youth drama Skins (E4, 2007-2013) calls attention to itself with its high doses of drugs, chaotic parties and casual attitudes towards sexuality. It also moves quickly, shedding its cast every two seasons as they graduate from school, then renewing itself with a fresh generation of 16 year old characters - three cycles in total. This essay will explore the challenges of maintaining audience connections whilst resetting the narrative clock with each cycle. I suggest that the development of the Skins brand was key to the programme’s success. Branding is particularly important for an audience demographic who increasingly consume their television outside of broadcast flow and essential for a programme which renews its cast every two years. The Skins brand operate as a framework, as the central audience draw, have the strength to maintain audience connections when it ‘graduates’ those characters they identify with at the close of each cycle and starts again from scratch. This essay will explore how the Skins brand constructs a cohesive identity across its multiple generations, yet also consider how the cyclic form poses challenges for the programme’s representations and narratives. This cyclic form allows Skins to repeatedly reach out to a new audience who comes of age alongside each new generation and to reflect shifts in British youth culture. Thus Skins remains ever-youthful, seeking to maintain an at times painfully hip identity. Yet the programme has a somewhat schizophrenic identity, torn between its roots in British realist drama and surrealist comedy and an escapist aspirational glamour that shows the influence of US Teen TV. This combination results in a tendency towards a heightened melodrama at odds with Skins claims for authenticity - its much vaunted teenage advisors and young writers - with the cyclic structure serving to amplify the programme’s excessive tendencies. Each cycle wrestles with a need for continuity and familiarity - partly maintained through brand, aesthetic and setting - yet a desire for freshness and originality, to assert difference from what has gone before. I suggest that the inevitable need for each cycle to ‘top’ what has gone before results in a move away from character-based intimacy and the everyday to high-stakes drama and violence which sits uncomfortably within British youth television.

O uso variável das construções condicionais em contextos de aquisição de tradições discursivas da escrita

Pós-graduação em Estudos Linguísticos - IBILCE

Narratori degli anni zero. Storia, critica, poetiche

Il lavoro si propone come un’indagine sulla letteratura italiana del primo decennio del XXI secolo, in una prospettiva non di semplice ricognizione ma di individuazione di linee interpretative capaci di ripercorrere un archivio di materiali molto vasto e non ancora chiuso. La prima parte affronta questioni relative a condizioni produttive, ricezione e valutazione critica della letteratura contemporanea. Il primo capitolo è dedicato alla discussione di problemi relativi allo studio della narrativa italiana del XXI secolo a partire dalla definizione utilizzata per riferirsi ad essa, quella di “anni zero”. Il secondo capitolo situa la narrativa contemporanea nelle linee di sviluppo della letteratura italiana degli ultimi trent’anni, a partire da un mutamento del rapporto dello scrittore con la tradizione umanistica che risale all’inizio degli anni ottanta. Il terzo capitolo approfondisce uno dei generi maggiormente praticati: il romanzo storico. Considerato negli anni ottanta e novanta un genere d'evasione e intrattenimento, negli anni zero è divenuto veicolo di punti di vista critici nei confronti delle narrazioni dominanti. La seconda parte è dedicata all’approfondimento di romanzi che raccontano, da un’ottica non testimoniale, gli anni settanta italiani, periodo complesso non solo sul piano evenemenziale, ma anche su quello della rielaborazione artistica. I romanzi su cui si concentra l’indagine offrono un racconto degli anni settanta italiani a partire da un’idea di storia plurale, ricostruita attraverso una molteplicità di voci, che muta a seconda della prospettiva da cui viene affrontata. Le storie false dei romanzi sugli anni settanta non chiedono di essere lette come vere, ma dicono comunque qualcosa di vero sulle modalità attraverso le quali si va costruendo il rapporto con il passato recente, nel più ampio contesto dei percorsi della letteratura italiana di inizio millennio, tra spinte che vanno nella direzione del mantenimento dell’autonomia da parte degli autori e pressioni del mercato editoriale.