Citation: C. Ingrassia, I-AM-BECOME-A-MERE-USURER - 'PAMELA' AND DOMESTIC STOCK-JOBBING (RICHARDSON,SAMUEL, ECONOMICS, WOMEN), Studies in the novel, 30(3), 1998, pp. 303-323
Citation: C. Howard, THE STORY OF THE PINEAPPLE - SENTIMENTAL ABOLITIONISM AND MORAL MOTHERHOOD IN OPIE,AMELIA 'ADELINE MOWBRAY', Studies in the novel, 30(3), 1998, pp. 355-376
Citation: J. Hilgart, DEATH COMES FOR THE AESTHETE - COMMODITY CULTURE AND THE ARTIFACT IN CATHER THE 'PROFESSORS HOUSE', Studies in the novel, 30(3), 1998, pp. 377-404
Citation: Wj. Scheick, HIGH AND LOW MODERNS - LITERATURE AND CULTURE, 1889-1939 - DIBATTISTA,M, MCDIARMID,L, Studies in the novel, 30(3), 1998, pp. 456-458
Citation: Jp. Stout, THE IMAGINATIVE CLAIMS OF THE ARTIST IN CATHER,WILLA FICTION - POSSESSION GRANTED BY A DIFFERENT LEASE - PECK,DC, Studies in the novel, 30(3), 1998, pp. 466-468
Citation: Aj. Rivero, HIEROGLIFICKD HISTORY IN BEHN,APHRA 'LOVE-LETTERS BETWEEN A NOBLEMAN AND HIS SISTER', Studies in the novel, 30(2), 1998, pp. 126-138
Citation: Kl. Cope, ALL ABORAD THE ARK OF POSSIBILITY, OR, ROBINSON-CRUSOE RETURNS FROM MARS AS A SMALL-FOOTPRINT, MULTICHANNEL INDETERMINACY MACHINE, Studies in the novel, 30(2), 1998, pp. 150-163
Citation: J. Barchas, PREFIGURING GENRE - FRONTISPIECE PORTRAITS FROM 'GULLIVERS TRAVELS' TO 'MILLENIUM HALL', Studies in the novel, 30(2), 1998, pp. 260-286