Daisy Ashford: her book, a collection of the remaining novels

Preface by Irvin S. Cobb.--By Daisy Ashford: Author's foreword, A short story of love and marriage, The true history of Leslie Woodcock, Where love lies deepest, The hangman's daughter.--By Angela Ashford: The jealous governes; or, The granted wish.

Descriptive list[s] of novels and tales.

Pt. 1-5 are bound in 1 v. with title: Descriptive lists of American, international, romantic and British novels ... Cambridge, 1891.

Novels and tales by the Earl of Beaconsfield : with portrait and sketch of his life.

v. 1. Vivian Grey-- v. 2. The young duke. Count Alarcos -- v. 3. Contarini Fleming. The rise of Iskander -- v. 4. Alroy. Ixion in heaven. The infernal marriage. Popanilla -- v. 5. Henrietta Temple -- v. 6. Venetia -- v. 7. Coningsby -- v. 8. Sybil -- v. 9. Tancred -- v. 10. Lothair -- v. 11. Endymion. Memoir of the Earl of Beaconsfield.

Reade's novels.

Mode of access: Internet.

Stereotypes below the Surface : A Comparative Study of Three Popular Young Adult Novels in the Romantic Fantasy Genre

In recent years, the young adult genre has become increasingly popular and is experiencing a "second golden age.” It might be expected in such novels, when written by women and featuring gifted female heroines, to find some kind of a feminist message. Indeed, the heroines are often perceived as strong and capable. However, they fall in line with several old gender stereotypes. The three novels chosen for this study are: A Court of Thorns and Roses by Sarah J. Maas, Red Queen by Victoria Aveyard and An Ember in the Ashes by Sabaa Tahir. I will show that women, although perceived as strong and capable on the surface, often conform to stereotypes. In order to do this I analyse how women are portrayed from different perspectives. Women are often perceived as passive in romantic situations, and objectified through the normative male gaze. It is interesting that also in novels written by women for women, the male gaze is prominent. Through this the female reader gains the desire to be objectified, implicitly from the narrative, which is something that works against women’s empowerment in society. Furthermore, the female protagonists rarely, or never, threaten patriarchy in any way and generally work toward reinstating patriarchy which is perceived as the only sensible option. Women in power, who do threaten patriarchy, are portrayed as sadistic witches.

But somehow it was only television: West German Narratives of the fall of the Wall in recent novels and their screen adaptations

East Germans have long been criticised for harbouring a feeling of Ostalgie, a nostalgia for their old, Socialist state, but only recently has it become apparent that many west Germans obviously experience a similar sense of loss and longing for a seemingly simpler time before reunification. The texts that express these feelings tend to focus on the fall of the Wall as the pivotal point of change in German post-war history. Typically the characters in these books deny the significance and impact of this major political event and strive to reduce its importance, at best to a minor television moment. This attitude can be observed in the novels liegen lernen and Herr Lehmann and in their film adaptations. Despite having been accused of indulging a feeling of Westalgie, a closer analysis reveals that they are in fact deliberately provocative and challenge eastern and western stereotypes. In addition the films find ways to transport the books’ ironic narrative to the screen, and they also reinforce the authors’ implicitly critical attitude towards their characters’ political apathy by portraying the fall of the Wall in ways different to the books. The films react to the provocation voiced in the novels and function like an intertextual commentary as they integrate the opening of the border into a meaningful context for the protagonists and restore it to its historic importance.