Guilty pleasures in one's reading habits are nothing new. Late-nineteenth-century American literary culture even championed the idea that popular novels need not be great. Best-selling novels arrived in the public sphere as at once beloved and contested objects, an ambivalence that reflected and informed America's cultural insecurity. This became a matter of nationhood as well as aesthetics: the amateurism of popular narratives resonated with the discourse of new nationhood. In Guilty Pleasures, Hugh McIntosh examines reactions to best-selling fiction in the United States from 1850 to 1920, including reader response to such best-sellers as Uncle Tom's Cabin, Ben Hur, and Trilby as well as fictional representations-from Trollope to Baldwin-of American culture's lack of artistic greatness. Drawing on a transatlantic archive of contemporary criticism, urban display, parody, and advertising, Guilty Pleasures thoroughly documents how the conflicted attitude toward popular novels shaped these ephemeral modes of response. Paying close attention to this material history of novel reading, McIntosh reveals how popular fiction's unique status as socially saturating and aesthetically questionable inspired public reflection on what it meant to belong to a flawed national community.

This volume presents the results of the Flourishing Children Project. The study addressed gaps in the research on indicators of positive development of adolescents. Such indicators are essential for the balanced and scientifically sound study of adolescents. Yet measures of many aspects of flourishing are not available, and when they do exist, they are rarely measured in a developmentally appropriate manner for adolescents. In addition, they are often too long for program evaluations and surveys, have not been tested on diverse populations, nor carefully validated as predictors of positive outcomes. The Flourishing Children Project undertook the development of scales for adolescents ages 12-17 for 19 aspects of flourishing covering six domains: flourishing in school and work, personal flourishing, flourishing in relationships, relationship skills, helping others to flourish, and environmental stewardship. This volume describes the four-stage process of developing the scales, including: Reviewing the literature for extant measures for items to test and synthesizing the existing research into consensus definitions for each construct; conducting cognitive testing of items with adolescents and their parents; pilot testing the items; and conducting psychometric analyses.

Guilty pleasures in one's reading habits are nothing new. Late-nineteenth-century American literary culture even championed the idea that popular novels need not be great. Best-selling novels arrived in the public sphere as at once beloved and contested objects, an ambivalence that reflected and informed America's cultural insecurity. This became a matter of nationhood as well as aesthetics: the amateurism of popular narratives resonated with the discourse of new nationhood. In Guilty Pleasures, Hugh McIntosh examines reactions to best-selling fiction in the United States from 1850 to 1920, including reader response to such best-sellers as Uncle Tom's Cabin, Ben Hur, and Trilby as well as fictional representations-from Trollope to Baldwin-of American culture's lack of artistic greatness. Drawing on a transatlantic archive of contemporary criticism, urban display, parody, and advertising, Guilty Pleasures thoroughly documents how the conflicted attitude toward popular novels shaped these ephemeral modes of response. Paying close attention to this material history of novel reading, McIntosh reveals how popular fiction's unique status as socially saturating and aesthetically questionable inspired public reflection on what it meant to belong to a flawed national community.