MFA THESIS: It’s, Like, Critical: The Role of Character Idiolect in Developing Authentic Voice for Female Narrators in Young Adult Fiction by aimmyarrowshigh
Fandoms: Hamilton - Miranda, Hunger Games Trilogy - Suzanne Collins, Ruby Oliver Series - E. Lockhart, The Ashbury-Brookfield Series - Jaclyn Moriarty, Why We Broke Up - Daniel Handler, Dream Street (Band), One Direction (Band), We Were Liars - E. Lockhart, The Princess Diaries - All Media Types, Hamlet - Shakespeare, Romeo And Juliet - Shakespeare
10 Jan 2016
In the field of young adult literature, the lauding of prescriptivism places the goals of the category with the traditional ideals of literary fiction, and—
What’s real is this: prescriptivism is a value judgment. It places a system of arbitrary and, yes, ever-changing, rules above clear communication, for one thing, implying that the ability to access, memorize, and correctly parse those rules is more important than human interconnection. But for another, as “descriptivism activist” (say that three times fast!) Melissa A. Fabello so succinctly notes, “any time we create a hierarchy by positioning one thing as ‘better’ than another, we’re being oppressive,” and in the case of prescriptivist language, that ‘one thing that’s better’ is “a reference guide created by a white supremacist, heteropatriarchal system [that] does nothing but uphold that status quo.” And that’s all it is. The type of language that is most often given the benefit of being considered correct, or authentic, or beautiful—mostly what it really is is obedient.
And teenagers? They aren’t obedient.
24 Dec 2011
In which a secret assignment gets a little out of hand.