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Societies of Control in Young Adult Literature: The Panoptic World of Veronica Roth's Trilogy __________Eldoliefy, N. A. (2015).
''One is Not Born a Vampire, but Becomes One'': Motherhood and Masochism in __________Whitton, M. (2011).
Mountain Airs, Mockingjays and Modernity: Songs and Their Significance in __________Fitzgerald, J., & Hayward, P. (2015).
''A God Buys Us Cheeseburgers'': Rick Riordan's __________ Series and America's Culture WarsMorey, A., & Nelson, C. (2015).
The Life and Lies of Albus Dumbledore : The Ethics of Information Sharing and Concealment in the __________ NovelsWillson-Metzger, A. (2009).
Royal Subjects: Feminist Perspectives on Diary Writing and the Diary Form in Meg Cabot's __________ SeriesLiljeqvist, H. (2016).
Performative Metafiction: Lemony Snicket, Daniel Handler and The End of __________Austin, S. (2013).
Putting the Punk in a Steampunk Cinderella: Marissa Meyer's __________Doughty, T. (2015).
Glendower and the Otherworld: Celticism in __________Keegstra, M. J. (2018).
Cities of Tomorrow: Urban Landscapes and Urban Sustainability in Marie Lu's __________ trilogyHodneland, T. E. (2019).
The Three Faces of Tally Youngblood: Rebellious Identity-Changing in Scott Westerfeld's __________ SeriesMoran, M. J. (2016).
Who Wears the Pants? The (Multi)Cultural Politics of __________ McInally, K. (2008).
Circumventing the Grand Narrative: Dust as an Alternative Theological Vision in Pullman's __________Bird, A. M. (2005).
__________ and How C.S. Lewis Created Christian Fantasy FictionCallow, A. (2015).
Neomedievalism, Feminism, and the Sword in Tamora Pierce's __________ Garner, A. (2020).
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