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This article addresses the metacognitive skills of pre-service ESL teachers in terms of their future role as reading teachers for intermediate and advanced pupils. Reading is a basic skill in all subjects in the Norwegian National Curriculum and involves engaging in texts, understanding, applying and reflecting on what is read – activities requiring higher level thinking. My research questions are: 1) How can “narrative transportation theory” (Gerrig, 1993) help pre-service ESL teachers understand the psychological reading process? and 2) How can insight into this theory motivate them to become better reading teachers, able to faciliate deep learning through literature? I use Julie Bertagna’s science fiction trilogy (Exodus 2002; Zenith 2007; Aurora 2011) to illustrate how narrative transportation works, highlighting the literary qualities that trigger pleasurable reading through immersion into the storyworld. This choice is based on Sections 1.5 and 2.5.3 in the new “Overarching section – values and principles for mandatory education” (2017) of the national curriculum, which instructs schools to teach pupils about their responsibility in contributing to an ecologically sustainable world order. The trilogy thematizes climate change and can affect behavior and attitudes toward this issue positively; it activates a wide spectrum of emotions, facilitating persuasion. Teachers must, however, remember that reading for pleasure is not enough; they must use metacognitve reading strategies in their teaching of literature to ensure deep learning and reach curricular goals. Keywords: teenage literature, narrative transportation theory, metacogniton, metacognitive reading strategies, Julie Bertagna’s Exodus Trilogy, ecological sustainability, ESL, teaching reading A forsta psykologiske leseprosesser: Laererstudenten som leselaerer i engelskfaget Sammendrag Denne artikkelen handler om laererstudenters metakognitive ferdigheter i sammenheng med leseundervisningen i engelskfaget. Lesing er en av de grunnleggende ferdighetene i alle fag i Kunnskapsloftet. Dette innebaerer a vaere engasjert i, forsta, bruke og reflektere over det som leses, samt bruk av lesestrategier – dette krever metakognitiv tenkning. Forskningssporsmalene er: 1) Hvordan kan “narrativ transport-teori” (Gerrig, 1993) hjelpe laererstudenter i engelskfaget til a forsta den psykologiske leseprosessen? og 2) Hvordan kan kunnskap om denne teorien motivere dem til a utvikle seg som laerere i lesing, med evnen til a fostre dybdelaering gjennom litteratur? Jeg bruker Julie Bretagnas ungdomstrilogi i sjangeren science-fiction (Exodus 2002; Zenith 2007; Aurora 2011), for a illustrere hvordan narrativ transport fungerer, og belyser litteraere kvaliteter som setter det i gang. Valget baseres hovedsakelig pa Overordnet del av laereplanen (2017) som omtaler “Respekt for naturen og miljobevissthet” (1.5) og “Baerekraftig utvikling” (2.5.3), der skolen far i oppdrag a laere elever om ansvaret de har for a skape en okologisk baerekraftig utvikling. Trilogien tematiserer klimaendringer og kan pavirke leserens atferd og holdninger. Fortellingen kan igangsette mange folelser, som igjen kan forsterke eller endre leserens overbevisning. Men laerere ma huske at lesing som underholdning ikke er nok; de ma ta i bruk metakognitive lesestrategier i sin undervisning for a sikre dybdelaering og oppna laereplanmalene. Nokkelord: ungdomslitteratur, narrativ transport-teori, metakognisjon, metakognitive lesestrategier, Julie Bertagnas Exodus Trilogy, baerekraftig utvikling, engelsk som annet sprak, leseundervisning

Pat Barker’s fictional account of the Great War, The Regeneration Trilogy, completed in 1995, is considered to be her most important work to date and has captured the imagination of the reading public as well as attracting considerable scholarly attention. Although the trilogy appears to be written in the realistic style of the traditional historical novel, Barker approaches the past with certain preoccupations from 1990s Britain and rewrites the past as seen through these contemporary lenses. Consequently, the trilogy illustrates not only how the past returns to haunt the present, but also how the present reciprocally haunts perceptions of the past. The haunting quality of the trilogy is developed through an extensive, intricate pattern of intertextuality. This reciprocal haunting at times breaks the realistic framework of the narrative, giving rise to anachronisms. This study offers a reading of trauma, class, gender and psychology as thematic areas where intertexts are activated, allowing Barker to revise and re-accentuate stories of the past. Drawing on Michel Foucault’s concept of discourse and Mikhail Bakhtin’s notion of dialogue, it focuses on the trilogy as an interactive link in an intertextual chain of communication about the Great War. Received versions of history are confirmed, expanded on and sometimes questioned. What is innovative about the trilogy is how Barker incorporates discursive formations not only from the Great War period, but from the whole twentieth century. The Great War is regenerated and transformed as it passes from one dialogic context to another. My reading shows that the trilogy presents social structures from different historical epochs through dialogism and diachronicity, making the present-day matrices of power and knowledge that continue to surround, determine and limit people’s lives highly visible. The Regeneration Trilogy regenerates the past, simultaneously confirming Barker’s claim that the historical novel can also be “a backdoor into the present”.

Patricia Cornwell's new police procedural series featuring volunteer cop/rookie reporter Andy Garcia, Chief of Police Judy Hammer and Deputy Chief Virginia West has been described as DOA (Dead on Arrival) by disgruntled fans. The negative reception of the series, which so far comprises three titles (Hornet's Nest, 1997; Southern Cross, 1998; and Isle of Dogs, 2001) is surprising, since the popularity of Cornwell's former series, the ten-book series featuring Virginia medical examiner Kay Scarpetta, made her the number one best-selling female crime writer in the United States in the 1990s. In my article, I argue that Cornwell follows a long line of female predecessors who have "realigned" the crime novel genre to accommodate new values in society, new gender roles, a growing female readership, and the march of women writers and characters into this once so masculine arena. Her Scarpetta series gave the public a superhuman heroine and pleased many readers with the role reversal: an empowered woman leading the battle against evil. In spite of the fact that Cornwell champions gay rights through the character of Kay's beloved niece, Lucy, the Scarpetta series remains firmly anchored within a conservative, patriarchal worldview Although Cornwell recycles familiar elements of the police procedural and the classic crime formula in the "Garcia" series, she does not cement or reinforce social norms. Instead, she introduces inversions and subversions of gender in the books which parody the gendered assumptions of patriarchal society. The series is a new departure with the vestigial beginnings of a radicalized worldview. However, the farcical tone and exaggeration in the series undermine the latent criticism of hegemonic structures of power and sexuality in American society and have thus confused and disappointed Cornwell's fans. Her new worldview lacks the consistency needed to make it habitable. The author will have to reconsider her underlying intentions in order to resuscitate this series

This study investigated the effects of the motor and verbal aspects of modeling on imitation. The subjects were 2- and 3-year-old children (N = 96). The child's imitation responses were recorded during the play period that followed each modeled act. Each child observed the model in one of four modeling conditions. In Condition 1, the model "flew" a telephone while saying that he or she was flying an airplane. Imitation was recorded as motor if the child flew the telephone but was recorded as verbal and realistic if the child flew an airplane. In Condition 2, the model flew an airplane while saying that he or she was flying a telephone. Imitation was recorded as verbal if the child flew the telephone. In Condition 3, the model flew an airplane and said that he or she was flying an airplane. If the child flew an airplane, imitation was scored as motor, verbal, and realistic. In Condition 4, the model flew a telephone and said that he or she was flying a telephone. Imitation was scored as motor and verbal if the child flew the telephone but was scored as realistic if the child flew the airplane. In Condition 1, 2-year-olds displayed more motor imitation than 3-year-olds, and 3-year-olds displayed more verbal-reality imitation than 2-year-olds. Boys displayed more motor imitation than girls. There were no age or sex differences in Condition 2. In Condition 3, 2-year-olds imitated more than 3-year-olds, with 3-year-old girls imitating the least. In Condition 4, reality imitation was largely due to 2-year-old boys' imitation of masculine-type acts.