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Foreword | |
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Acknowledgments | |
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Introduction: Literature: Vive la Difference | |
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Why Study Children? | |
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Why Study Girls? | |
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So, Why Does Literature Matter? | |
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What Was Wrong with My Research Questions? | |
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The Chapters | |
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Where Are Their Human Role Models? | |
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Why Are Female Characters of Fiction Not Role Models? | |
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Seeing and Imagining the Text | |
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How Critics Believe That Ideas Influence People | |
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The Relationship between Literature and Life | |
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Floating above the Story | |
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The Importance of the Narrator | |
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Reading with Multiple Selves | |
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Seeing and Imagining at the Same Time | |
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Written Text as Cinematic in the Mind | |
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Shifting Points of View | |
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Going "Off-World" for Insight | |
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Grasping Theme | |
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Seeing and Transcendence: The American View | |
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Transcendence of Artistic Lines | |
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A Separate Moral Vision | |
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Voyages Off-World: Healthy? | |
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"It's Like a Fantasy World": Gender and Form | |
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Genre as Focalizer, Adventure Quest as Freedom | |
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Why Girls Appreciate Harry Potter and Secondary Worlds of Fantasy | |
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Appreciating Fantasy beyond Hero | |
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The Multiple Climaxes and Quests of Fantasy | |
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The History of Gender and Form in the American Romance and Novel | |
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British Fantasy for Children versus American Romance | |
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Gender and Form in Nineteenth-Century America | |
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Gender and Genre Continue in American Bookstores and Blockbusters | |
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An Example of Utopian Vision | |
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The Genre of Identity: Suspense, Action, Quest, and Gothic Form | |
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Suspense | |
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"The Whole World-Ending Thing" | |
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"The Horror, the Horror!": Gothic Mystery | |
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Form over Victim, Mind over Matter | |
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Getting Good at Form | |
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Serialization: Mystery Saga That Never Ends | |
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Gothic Landscape | |
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How the Gothic Doubles | |
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Gothicizing the Female | |
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Cherchez la Femme: The Problem of Verisimilitude | |
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Alienation from Female Characters in Written Fiction | |
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How the Gender of Fantasy Becomes Bound to Their Appreciation of Literature | |
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American Girls and the Freedom to Fly | |
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Constructing Female Stories as Fantasies | |
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Structuring Texts Perceived as Verisimilar | |
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Structuring Psychology | |
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Structuring Emotion | |
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Film and "Reelism" | |
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Empowerment of Female Characters | |
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The Role Film Plays in Social Life | |
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Attending to Actresses | |
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Growing Up With Film | |
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The Paradox of Film, More Novel Than Literature | |
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Beauty in the Beast: The Power of Metamorphosis | |
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Acting in Play: A Different Transcendence of Self | |
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The Appeal of Species Metamorphosis | |
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Embodying the Animal Narrative | |
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The Braid of Animal Literature and Imaginative Life | |
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Our Bodies, Our Animals | |
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Transcendence of Human Form | |
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Coda: Tapping Girls' Responses to Reading | |
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Comparing Form across Genres | |
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Exploring Narrative Strategies | |
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Investigating Points of View | |
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Conclusion: Encouraging the Aesthetic Stance | |
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Interviews as Texts: A Methodological Discussion | |
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Notes | |
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Works Cited | |
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Index | |
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About the Author | |