Download as pdf or txt
Download as pdf or txt
You are on page 1of 32

Test Bank for Research Design in

Clinical Psychology, 5th Edition, Alan


E. Kazdin
Visit to download the full and correct content document: https://testbankbell.com/dow
nload/test-bank-for-research-design-in-clinical-psychology-5th-edition-alan-e-kazdin-2
/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Test Bank for Research Design in Clinical Psychology,


4/E 4th Edition Alan E. Kazdin

http://testbankbell.com/product/test-bank-for-research-design-in-
clinical-psychology-4-e-4th-edition-alan-e-kazdin/

Test Bank for Cognitive Psychology: Connecting Mind,


Research, and Everyday Experience, 5th Edition, E.
Bruce Goldstein

http://testbankbell.com/product/test-bank-for-cognitive-
psychology-connecting-mind-research-and-everyday-experience-5th-
edition-e-bruce-goldstein/

Test Bank for Research Methods in Psychology 3rd by


Morling

http://testbankbell.com/product/test-bank-for-research-methods-
in-psychology-3rd-by-morling/

Solution Manual and Test Bank for Elementary Statistics


in Social Research: Essentials, 3/E 3rd Edition Jack A.
Levin, James Alan Fox

http://testbankbell.com/product/solution-manual-and-test-bank-
for-elementary-statistics-in-social-research-essentials-3-e-3rd-
edition-jack-a-levin-james-alan-fox/
Downloadable Test Bank for Research Methods In
Psychology 10th Edition Shaughnessy

http://testbankbell.com/product/downloadable-test-bank-for-
research-methods-in-psychology-10th-edition-shaughnessy/

Solution Manual for Cognitive Psychology: Connecting


Mind, Research, and Everyday Experience 5th Edition E.
Bruce Goldstein

http://testbankbell.com/product/solution-manual-for-cognitive-
psychology-connecting-mind-research-and-everyday-experience-5th-
edition-e-bruce-goldstein/

Test Bank for Research Design Qualitative,


Quantitative, and Mixed Methods Approaches 5th by
Creswell

http://testbankbell.com/product/test-bank-for-research-design-
qualitative-quantitative-and-mixed-methods-approaches-5th-by-
creswell/

Research Methods in Psychology 10th Edition Shaughnessy


Solutions Manual

http://testbankbell.com/product/research-methods-in-
psychology-10th-edition-shaughnessy-solutions-manual/

Test Bank for Systems Analysis and Design, 7th Edition,


Alan Dennis

http://testbankbell.com/product/test-bank-for-systems-analysis-
and-design-7th-edition-alan-dennis/
Chapter 3: Drawing Valid Inferences
II: Construct and Data-Evaluation
Validity
Chapter Descrtion
This chapter discusses how to identify threats to construct and data-evaluation validity. It also
describes the interrelations of the different types of validity.

Discussion Questions
This discussion question bank provides a listing of discussion questions (2 per module), which
are included for in-class use.

3.1: Construct Validity Defined

1. Imagine you are tasked with explaining construct validity to a research subject who
has no background in research design. Using an example from your own professional
field, how would you define and explain construct validity, and its importance, to this
subject?

2. Using an example of a construct relevant to a research question that interests you,


explain how construct validity would be relevant in addressing this question, and
why it would be important.

3.2: Confounds and Other Intriguing Aspects of Construct Validity

1. Select a construct important in your field of study, and give several examples of
confounds that might make investigating this construct more difficult.

2. Choose a research result that you have read about recently, either in the popular press
or in a research journal. If confounding was addressed in the report, explain how and
whether you think it was covered adequately. If it was not addressed, discuss how
confounding could have affected the reported result, and how the researchers could
have discussed confounding.

3.3: Threats to Construct Validity

1. Select one of the specific threats to construct validity and discuss how it might affect
research results in your chosen professional field. Include some suggestions about
how the threat could be addressed in the design and/or conduct of research.
2. Randomized controlled trials are often considered the gold standard of research, but
they can also be affected by threats to construct validity. Describe a research study in
your area of interest incorporating a randomized controlled trial, and explain how
threats to construct validity might affect the results of the trial.

3.4: Managing Threats to Construct Validity

1. Choose one of the threats to construct validity likely to be relevant to a research


question of interest to you, and describe how you would use one or more of the
procedures described in this chapter to manage that threat.

2. This section describes several methods to manage threats to construct validity, some
of which can be applied before research has begun, some during research, and some
after research has been concluded. Discuss the strengths and weakness of each
approach.

3.5: Data-Evaluation Validity Defined

1. Consider a research question of interest to you, and describe a study that could
address it. How is data-evaluation validity relevant to this study and to the
conclusions you might draw from it?

2. Using an example from your field of expertise, explain why the term “data-
evaluation validity” may be more useful that the term “statistical conclusion validity”
in evaluating claims made based on the research results.

3.6: Threats to Data-Evaluation Validity Defined

1. Choose an example of research in your professional field and discuss how the three
facets of statistical evaluation are relevant to evaluating the conclusions that may be
drawn from this research.

2. Select a research question that interests you, and describe some ways that data-
evaluation validity might be relevant to devising a study intended to allow you to
draw conclusions about this research question.

3.7: Overview of Essential Concepts of Data-Evaluation Validity

1. Using an example of research from your field, or a study you would like to design
and conduct, describe the four possible outcomes (as described in Figure 2.1) from
this study, and what you would conclude from each outcome.

2. Define effect size and explain, with reference to a research question in your field,
why you should be aware of effect size when evaluating the results of studies related
to this research question.
3.8: Threats to Data-Evaluation Validity

1. Select one of the major threats to data-evaluation validity, and discuss how it is
relevant in your field, using an example of either a published research result or a
hypothetical study you would like to conduct.

2. Describe a research study you would like to perform. Include a discussion of which
specific threats to data-evaluation validity would be most relevant to your study.

3.9: Managing Threats to Data-Evaluation Validity

1. Describe a research study in your field that you have read about. Were any of the
threats to data-evaluation validity relevant to this study, and if so, did the researchers
address these threats adequately?

2. Describe a research study that you would like to conduct. What threats to data-
evaluation validity are relevant to this study, and how would you address those
threats?

3.10: Experimental Precision

1. Choose a research study in your field that you have read about, and discuss how the
author(s) addressed the necessity of setting priorities and making trade-offs in order
to conduct the research. Also evaluate whether you think the author(s) addressed
these issues adequately, and, if not, whether the failure to address these issues brings
the author(s) conclusions into doubt.

2. Describe a research study that you would like to conduct to address an issue of
concern in your field. Include a discussion of how you would set your priorities and
determine what trade-off might be necessary, and how those choices could affect the
validity of your results.

Research Assignments
The following research assignments pertain to the main topics and/or themes of the chapter.
Please respond by writing a paper consisting of 1,000-1,500 words.

Construct Validity in Published Research


Define a research question within your professional field that requires the use of one or more
constructs. Conduct a literature review to see how other researchers have addressed this question,
with particular attention to how they defined the constructs used in their research, how they
established construct validity, and how they addressed threats to construct validity. Write a
report summarizing your findings, including whether you feel construct validity was
appropriately established in each study.
Chapter 4: Ideas that Begin the
Research Process
Chapter Description
This chapter describes and identifies the sources of ideas that serve as the basis for developing an
investigation, as well as how to move from a general idea to concrete operations that form a
study.

Discussion Questions
This discussion question bank provides a listing of discussion questions (2 per module), which
are included for in-class use.

4.1: Developing the Research Idea

1. Choose one of the sources of ideas for studies from Table 4.1, and use it to develop
an empirical question related to a topic you would like to study. Explain why the
source is a good match for the topic and for your particular empirical question.

2. Select a published research study in your area of interest, and explain how you could
develop a new study by extending or translating this study; use the guidelines in
Table 4.1.

4.2: Sources of Ideas for Study

1. Explain what is meant by a case study and the strong and weak points of this type of
research, including an example of how a case study might serve as a starting point to
develop an empirical research question.

2. Explain what is meant by the study of special populations, illustrating with an


example of research from your field of study. What are some of the cautions and
special considerations relevant to this type of research?

4.3: Investigating How Two (or More) Variables Related to Each Other

1. Develop an empirical research question based on the correlation or association


between two variables, and explain why this particular question is of interest to your
professional field.

2. Explain what is meant by a risk factor and a protective factor, and devise a research
question relevant to your professional field incorporating one or both of these
concepts.
4.4: Moderators, Mediators, and Mechanisms

1. Define and distinguish between moderators and mediators in the context of research,
giving an example of each from your field of study.

2. Define and distinguish between mediators and mechanisms in the context of


research; give an example of each from your field of study.

4.5: Translating Findings from Research to Practice

1. Distinguish between basic research and applied research, giving examples of each
from your field of study.

2. Explain what is meant by translational research, illustrated by one or more examples


from your field of study. How is translational research related to basic and applied
research, and how does it differ from each?

4.6: Theory as a Guide to Research

1. Develop an explanation of what is meant by theory in scientific research that would


be appropriate if you were addressing a nonscientific audience. Illustrate your
definition with one or more examples of well-known theories from your professional
field, and explain the importance of those theories to the field.

2. Explain what is meant by the focus of theory, giving examples from your field of
several different types of focus for theory. How does each focus shape the type of
investigations used to test each theory?

4.7: Why Theory is Needed

1. Many non-scientists do not understand why theory is needed in scientific research.


Develop an explanation appropriate for an audience of high school students that
clarifies why theory is important. Illustrate with several examples of the different
roles theory may play in research.

2. Explain the difference between generating and testing hypotheses, illustrated with
several examples from your field. Explain why both play important roles in scientific
research.

4.8: What Makes a Research Idea Interesting or Important?

1. Develop a research question relevant to your area of study and use the guiding
questions method to defend your questions as interesting, important, or both.

2. Beginning researchers often seek to defend a proposed research question on the


grounds that it has never been done before. Explain why this is not a good way to
proceed, and provide examples of some better ways to identify a worthwhile research
question.

4.9: From Ideas to a Research Project

1. Start with a general area of interest and refine your ideas until you are left with a
suitable idea for a research project. Discuss the steps you went through to develop
your project, and why you think it is suitable as a focus for research.

2. Choose an example of a research study in your field and explain how the specific
research project reported related to the general area of interest of the study.

4.10: Overview of Key Steps

1. Explain what is meant by saying that a research question must be testable, and why
this is important. Illustrate your explanation with both an example of an untestable,
abstract idea that would not be suitable for a research project, and a related testable
idea that would be suitable.

2. Explain what is meant by an operational definition and why operational definitions


are important in research. Illustrate your explanation with one or more examples
from your professional field.

4.11: General Comments

1. Develop an empirical question suitable for a research study. Describe how you could
devise a study to examine this question, including an examination of which threats to
validity are likely to be most relevant and how you might address them.

2. Describe a research study to address a question of interest to you. Include a


consideration of what results you expect to find, plausible rival hypotheses relevant
that could explain those results, and how you might devise the study to eliminate
those alternative explanations.

Research Assignments
The following research assignments pertain to the main topics and/or themes of the chapter.
Please respond by writing a paper consisting of 1,000-1,500 words.

Examining Claims for Causality in Published Research


Do a literature review to locate a research article on a topic of interest to you that makes one or
more claims of causality. Examine the claims and the evidence provided for them, and evaluate
whether you think the claims of causality are justified. Summarize your critique in a research
paper including a point-by-point evaluation of the claims and evidence and, if you feel the claims
for causality are not justified, suggest some additional research that might help support the
claims made by the author(s).
Another random document with
no related content on Scribd:
ABANDONED. Cr. 8vo. 6s.

See also Books for Boys and Girls.

Sergeant (Adeline). ANTHEA’S WAY. Cr. 8vo. 6s.


THE PROGRESS OF RACHAEL. Cr. 8vo. 6s.
THE MYSTERY OF THE MOAT. Second Edition. Cr. 8vo. 6s.
MRS. LYGOIN’S HUSBAND. Cr. 8vo. 6s.
THE COMING OF THE RANDOLPHS. Cr. 8vo. 6s.

See also Strand Novels.

Shannon (W. F.) THE MESS DECK. Cr. 8vo. 3s. 6d.

See also Strand Novels.

Sonnischsen (Albert). DEEP-SEA VAGABONDS. Cr. 8vo.


6s.
Thompson (Vance). SPINNERS OF LIFE. Cr. 8vo. 6s.
Urquhart (M.). A TRAGEDY IN COMMONPLACE. Second
Ed. Cr. 8vo. 6s.
Waineman (Paul). BY A FINNISH LAKE. Cr. 8vo. 6s.
THE SONG OF THE FOREST. Cr. 8vo. 6s. See also Strand
Novels.
Waltz (E. C.). THE ANCIENT LANDMARK: A Kentucky
Romance. Cr. 8vo. 6s.
Watson (H. B. Marriott). ALARUMS AND EXCURSIONS.
Cr. 8vo. 6s.
CAPTAIN FORTUNE. Third Edition. Cr. 8vo. 6s.
TWISTED EGLANTINE. With 8 Illustrations by Frank
Craig. Third Edition. Cr. 8vo. 6s.
THE HIGH TOBY. With a Frontispiece. Third Edition. Cr.
8vo. 6s.
See also Strand Novels.

Wells (H. Q.). THE SEA LADY. Cr. 8vo. 6s.


Weyman (Stanley), Author of ‘A Gentleman of France.’
UNDER THE RED ROBE. With Illustrations by R. C.
Woodville. Twentieth Edition. Cr. 8vo. 6s.
White (Stewart E.), Author of ‘The Blazed Trail.’
CONJUROR’S HOUSE. A Romance of the Free Trail.
Second Edition. Cr. 8vo. 6s.
White (Percy). THE SYSTEM. Third Edition. Cr. 8vo. 6s.
THE PATIENT MAN. Second Edition. Cr. 8vo. 6s.
Williamson (Mrs. C. N.), Author of ‘The Barnstormers.’
THE ADVENTURE OF PRINCESS SYLVIA. Second Edition.
Cr. 8vo. 3s. 6d.
THE WOMAN WHO DARED. Cr. 8vo. 6s.
THE SEA COULD TELL. Second Edition. Cr. 8vo. 6s.
THE CASTLE OF THE SHADOWS. Third Edition. Cr. 8vo.
6s.
PAPA. Cr. 8vo. 6s.
Williamson (C. N. and A. M.). THE LIGHTNING
CONDUCTOR: Being the Romance of a Motor Car.
Illustrated. Fifteenth Edition. Cr. 8vo. 6s.
THE PRINCESS PASSES. Illustrated. Seventh Edition. Cr.
8vo. 6s.
MY FRIEND THE CHAUFFEUR. With 16 Illustrations.
Eighth Edition. Cr. 8vo. 6s.
LADY HETTY ACROSS THE WATER. Sixth Edition. Cr. 8vo.
6s.
Wyllarde (Dolf). Author of ‘Uriah the Hittite.’ THE
PATHWAY OF THE PIONEER. Fourth Edition. Cr. 8vo. 6s.
Methuen’s Shilling Novels
Cr. 8vo. Cloth, 1s. net.
Encouraged by the great and steady sale of their Sixpenny
Novels, Messrs. Methuen have determined to issue a new series
of fiction at a low price under the title of ‘The Shilling
Novels.’ These books are well printed and well bound in cloth,
and the excellence of their quality may be gauged from the
names of those authors who contribute the early volumes of the
series.
Messrs. Methuen would point out that the books are as good
and as long as a six shilling novel, that they are bound in cloth
and not in paper, and that their price is One Shilling net. They
feel sure that the public will appreciate such good and cheap
literature, and the books can be seen at all good booksellers.
The first volumes are—
Balfour (Andrew). VENGEANCE IS MINE.
TO ARMS.
Baring-Gould (S.). MRS. CURGENVEN OF CURGENVEN.
DOMITIA.
THE FROBISHERS.
Barlow (Jane), Author of ‘Irish Idylls. FROM THE EAST
UNTO THE WEST.
A CREEL OF IRISH STORIES.
THE FOUNDING OF FORTUNES.
Barr (Robert). THE VICTORS.
Bartram (George). THIRTEEN EVENINGS.
Benson (E. F.), Author of ‘Dodo.’ THE CAPSINA.
Bowles (G. Stewart). A STRETCH OFF THE LAND.
Brooke (Emma). THE POET’S CHILD.
Bullock (Shan F.). THE BARRYS.
THE CHARMER.
THE SQUIREEN.
THE RED LEAGUERS.
Burton (J. Bloundelle). ACROSS THE SALT SEAS.
THE CLASH OF ARMS.
DENOUNCED.
FORTUNE’S MY FOE.
Capes (Bernard). AT A WINTER’S FIRE.
Chesney (Weatherby). THE BAPTIST RING.
THE BRANDED PRINCE.
THE FOUNDERED GALLEON.
JOHN TOPP.
Clifford (Mrs. W. K.). A FLASH OF SUMMER.
Collingwood (Harry). THE DOCTOR OF THE ‘JULIET.’
Cornford (L. Cope). SONS OF ADVERSITY.
Crane (Stephen). WOUNDS IN THE RAIN.
Denny (C. E.). THE ROMANCE OF UPFOLD MANOR.
Dickson (Harris). THE BLACK WOLF’S BREED.
Dickinson (Evelyn). THE SIN OF ANGELS.
Duncan (Sara J.). THE POOL IN THE DESERT.
A VOYAGE OF CONSOLATION.
Embree (C. F.). A HEART OF FLAME.
Fenn (G. Manville). AN ELECTRIC SPARK.
Findlater (Jane H.). A DAUGHTER OF STRIFE.
Findlater (Mary). OVER THE HILLS.
Forrest (R. E.). THE SWORD OF AZRAEL.
Francis (M. E.). MISS ERIN.
Gallon (Tom). RICKERBY’S FOLLY.
Gerard (Dorothea). THINGS THAT HAVE HAPPENED.
Gilchrist (R. Murray). WILLOWBRAKE.
Glanville (Ernest). THE DESPATCH RIDER.
THE LOST REGIMENT.
THE KLOOF BRIDE.
THE INCA’S TREASURE.
Gordon (Julien). MRS. CLYDE. WORLD’S PEOPLE.
Goss (C. F.). THE REDEMPTION OF DAVID CORSON.
Gray (E. M‘Queen). MY STEWARDSHIP
Hales (A. G.). JAIR THE APOSTATE.
Hamilton (Lord Ernest). MARY HAMILTON.
Harrison (Mrs. Burton). A PRINCESS OF THE HILLS.
Illustrated.
Hooper (I.). THE SINGER OF MARLY.
Hough (Emerson). THE MISSISSIPPI BUBBLE.
‘Iota’ (Mrs. Caffyn). ANNE MAULEVERER.
Jepson (Edgar). KEEPERS OF THE PEOPLE.
Kelly (Florence Finch). WITH HOOPS OF STEEL.
Lawless (Hon. Emily). MAELCHO.
Linden (Annie). A WOMAN OF SENTIMENT.
Lorimer (Norma). JOSIAH’S WIFE.
Lush (Charles K.). THE AUTOCRATS.
Macdonell (Anne). THE STORY OF TERESA.
Macgrath (Harold). THE PUPPET CROWN.
Mackle (Pauline Bradford). THE VOICE IN THE
DESERT.
Marsh (Richard). THE SEEN AND THE UNSEEN.
GARNERED.
A METAMORPHOSIS.
MARVELS AND MYSTERIES.
BOTH SIDES OF THE VEIL.
Mayall (J. W.). THE CYNIC AND THE SYREN.
Monkhouse (Allan). LOVE IN A LIFE.
Moore (Arthur). THE KNIGHT PUNCTILIOUS.
Nesbit (Mrs. Bland). THE LITERARY SENSE.
Norris (W. E.). AN OCTAVE.
Oliphant (Mrs.). THE LADY’S WALK.
SIR ROBERT’S FORTUNE.
THE TWO MARY’S.
Penny (Mrs. Frank). A MIXED MARAGE.
Phillpotts (Eden). THE STRIKING HOURS.
FANCY FREE.
Pryce (Richard). TIME AND THE WOMAN.
Randall (J.). AUNT BETHIA’S BUTTON.
Raymond (Walter). FORTUNE’S DARLING.
Rayner (Olive Pratt). ROSALBA.
Rhys (Grace). THE DIVERTED VILLAGE
Rickert (Edith). OUT OF THE CYPRESS SWAMP.
Roberton (M. H.). A GALLANT QUAKER.
Saunders (Marshall). ROSE À CHARLITTE.
Sergeant (Adeline). ACCUSED AND ACCUSER.
BARBARA’S MONEY.
THE ENTHUSIAST.
A GREAT LADY.
THE LOVE THAT OVERCAME.
THE MASTER OF BEECHWOOD.
UNDER SUSPICION.
THE YELLOW DIAMOND.
Shannon (W. F.). JIM TWELVES.
Strain (E. H.). ELMSLIE’S DRAG NET.
Stringer (Arthur). THE SILVER POPPY.
Stuart (Esmè). CHRISTALLA.
Sutherland (Duchess of). ONE HOUR AND THE NEXT.
Swan (Annie). LOVE GROWN COLD.
Swift (Benjamin). SORDON.
Tanqueray (Mrs. B. M.). THE ROYAL QUAKER.
Trafford-Taunton (Mrs. E. W.). SILENT DOMINION.
Upward (Allen). ATHELSTANE FORD.
Waineman (Paul). A HEROINE FROM FINLAND.
Watson (H. B. Marriott). THE SKIRTS OF HAPPY
CHANCE.
‘Zack.’ TALES OF DUNSTABLE WEIR.

Books for Boys and Girls


Illustrated. Crown 8vo. 3s. 6d.
The Getting Well of Dorothy. By Mrs. W. K. Clifford.
Second Edition.
The Icelander’s Sword. By S. Baring-Gould.
Only a Guard-Room Dog. By Edith E. Cuthell.
The Doctor of the Juliet. By Harry Collingwood.
Little Peter. By Lucas Malet. Second Edition.
Master Rockafellar’s Voyage. By W. Clark Russell. Third
Edition.
The Secret of Madame de Monluc. By the Author of “Mdlle.
Mori.”
Syd Belton: Or, the Boy who would not go to Sea. By G.
Manville Fenn.
The Red Grange. By Mrs. Molesworth.
A Girl of the People. By L. T. Meade. Second Edition.
Hepsy Gipsy. By L. T. Meade. 2s. 6d.
The Honourable Miss. By L. T. Meade. Second Edition.
There was once a Prince. By Mrs. M. E. Mann.
When Arnold comes Home. By Mrs. M. E. Mann.

The Novels of Alexandre Dumas


Price 6d. Double Volumes, 1s.
The Three Musketeers. With a long Introduction by Andrew
Lang. Double volume.
The Prince of Thieves. Second Edition.
Robin Hood. A Sequel to the above.
The Corsican Brothers.
Georges.
Crop-Eared Jacquot; Jane; Etc.
Twenty Years After. Double volume.
Amaury.
The Castle of Eppstein.
The Snowball, and Sultanetta.
Cecile; or, The Wedding Gown.
Acté.
The Black Tulip.
The Vicomte de Bragelonne.
Part I. Louise de la Vallière. Double Volume.
Part II. The Man in the Iron Mask. Double Volume.
The Convict’s Son.
The Wolf-Leader.
Nanon; or, The Women’s War. Double volume.
Pauline; Murat; and Pascal Bruno.
The Adventures of Captain Pamphile.
Fernande.
Gabriel Lambert.
Catherine Blum.
The Chevalier D’Harmental. Double volume.
Sylvandire.
The Fencing Master.
The Reminiscences of Antony.
Conscience.
Pere La Ruine.
Henri of Navarre. The second part of Queen Margot.
The Great Massacre. The first part of Queen Margot.
The Wild Duck Shooter.

Illustrated Edition.
Demy 8vo. Cloth.
The Three Musketeers. Illustrated in Colour by Frank
Adams. 2s. 6d.
The Prince of Thieves. Illustrated in Colour by Frank
Adams. 2s.
Robin Hood the Outlaw. Illustrated in Colour by Frank
Adams. 2s.
The Corsican Brothers. Illustrated in Colour by A. M.
M’Lellan. 1s. 6d.
The Wolf-Leader. Illustrated in Colour by Frank Adams.
1s. 6d.
Georges. Illustrated in Colour by Munro Orr. 2s.
Twenty Years After. Illustrated in Colour by Frank
Adams. 3s.
Amaury. Illustrated in Colour by Gordon Browne. 2s.
The Snowball, and Sultanetta. Illustrated in Colour by
Frank Adams. 2s.
The Vicomte de Bragelonne. Illustrated in Colour by
Frank Adams.
Part I. Louise de la Vallière. 3s.
Part II. The Man in the Iron Mask. 3s.
Crop-Eared Jacquot; Jane; Etc. Illustrated in Colour by
Gordon Browne. 2s.
The Castle of Eppstein. Illustrated in Colour by Stewart
Orr. 1s. 6d.
Acté. Illustrated in Colour by Gordon Browne. 1s. 6d.
Cecile; or, The Wedding Gown. Illustrated in Colour by
D. Murray Smith. 1s. 6d.
The Adventures of Captain Pamphile. Illustrated in
Colour by Frank Adams. 1s. 6d.

Methuen’s Sixpenny Books


Austen (Jane). PRIDE AND PREJUDICE.
Bagot (Richard). A ROMAN MYSTERY.
Balfour (Andrew). BY STROKE OF SWORD.
Baring-Gould (S.). FURZE BLOOM.
CHEAP JACK ZITA.
KITTY ALONE. URITH.
THE BROOM SQUIRE.
IN THE ROAR OF THE SEA.
NOÉMI.
A BOOK OF FAIRY TALES. Illustrated.
LITTLE TU’PENNY.
THE FROBISHERS.
Barr (Robert). JENNIE BAXTER, JOURNALIST.
IN THE MIDST OF ALARMS.
THE COUNTERS TEKLA.
THE MUTABLE MANY.
Benson (E. P.). DODO.
Brontë (Charlotte). SHIRLEY.
Brownell (C. L.). THE HEART OF JAPAN.
Burton (J. Bloundelle). ACROSS THE SALT SEAS.
Caffyn (Mrs)., (‘Iota’). ANNE MAULEVERER.
*Capes (Bernard). THE LAKE OF WINE.
Clifford (Mrs. W. K.). A FLASH OF SUMMER.
MRS. KEITH’S CRIME.
Connell (F. Norreys). THE NIGGER KNIGHTS.
Corbett (Julian). A BUSINESS IN GREAT WATERS.
Croker (Mrs. B. M.). PEGGY OF THE BARTONS.
A STATE SECRET.
ANGEL.
JOHANNA.
Dante (Alighieri). THE VISION OF DANTE (CARY).
Doyle (A. Conan). ROUND THE RED LAMP.
Duncan (Sara Jeannette). A VOYAGE OF
CONSOLATION.
THOSE DELIGHTFUL AMERICANS.
Eliot (George). THE MILL ON THE FLOSS.
Findlater (Jane H.). THE GREEN GRAVES OF
BALGOWRIE.
Gallon (Tom). RICKERBY’S FOLLY.
Gaskell (Mrs.). CRANFORD.
MARY BARTON.
NORTH AND SOUTH.
Gerard (Dorothea). HOLY MATRIMONY.
THE CONQUEST OF LONDON.
MADE OF MONEY.
Gissing (George). THE TOWN TRAVELLER.
THE CROWN OF LIFE.
Glanville (Ernest). THE INCA’S TREASURE.
THE KLOOF BRIDE.
Gleig (Charles). HUNTER’S CRUISE.
Grimm (The Brothers). GRIMM’S FAIRY TALES.
Illustrated.
Hope (Anthony). A MAN OF MARK.
A CHANGE OF AIR.
THE CHRONICLES OF COUNT ANTONIO.
PHROSO.
THE DOLLY DIALOGUES.
Hornung (E. W.). DEAD MEN TELL NO TALES.
Ingraham (J. H.). THE THRONE OF DAVID.
Le Queux (W.). THE HUNCHBACK OF WESTMINSTER.
Levett-Yeats (S. K.). THE TRAITOR’S WAY.
Linton (E. Lynn). THE TRUE HISTORY OF JOSHUA
DAVIDSON.
Lyall (Edna). DERRICK VAUGHAN.
Malet (Lucas). THE CARISSIMA.
A COUNSEL OF PERFECTION.
Mann (Mrs. M. E.). MRS. PETER HOWARD.
A LOST ESTATE.
THE CEDAR STAR.
Marchmont (A. W.). MISER HOADLEY’S SECRET.
A MOMENT’S ERROR.
Marryat (Captain). PETER SIMPLE.
JACOB FAITHFUL.
Marsh (Richard). THE TWICKENHAM PEERAGE.
THE GODDESS.
THE JOSS.
Mason (A. E. W.). CLEMENTINA.
Mathers (Helen). HONEY.
GRIFF OF GRIFFITHSCOURT.
SAM’S SWEETHEART.
Meade (Mrs. L. T.). DRIFT.
Mitford (Bertram). THE SIGN OF THE SPIDER.
Montresor (F. F.). THE ALIEN.
Moore (Arthur). THE GAY DECEIVERS.
Morrison (Arthur). THE HOLE IN THE WALL.
Nesbit (E.). THE RED HOUSE.
Norris (W. E.). HIS GRACE.
GILES INGILBY.
THE CREDIT OF THE COUNTY.
LORD LEONARD.
MATTHEW AUSTIN.
CLARISSA FURIOSA.
Oliphant (Mrs.). THE LADY’S WALK.
SIR ROBERTS FORTUNE.
THE PRODIGALS.
Oppenheim (E. Phillips). MASTER OF MEN.
Parker (Gilbert). THE POMP OF THE LAVILETTES.
WHEN VALMOND CAME TO PONTIAC.
THE TRAIL OF THE SWORD.
Pemberton (Max). THE FOOTSTEPS OF A THRONE.
I CROWN THEE KING.
Phillpotts (Eden). THE HUMAN BOY.
CHILDREN OF THE MIST.
Ridge (W. Pett). A SON OF THE STATE.
LOST PROPERTY.
GEORGE AND THE GENERAL.
Russell (W. Clark). A MARRIAGE AT SEA.
ABANDONED.
MY DANISH SWEETHEART.
Sergeant (Adeline). THE MASTER OF BEECHWOOD.
BARBARA’S MONEY.
THE YELLOW DIAMOND.
Surtees (R. S.). HANDLEY CROSS. Illustrated.
MR. SPONGE’S SPORTING TOUR. Illustrated.
ASK MAMMA. Illustrated.
Valentine (Major E. S.). VELDT AND LAAGER.
Walford (Mrs. L. B.). MR. SMITH.
THE BABY’S GRANDMOTHER.
Wallace (General Lew). BEN-HUR.
THE FAIR GOD.
Watson (H. B. Marriot). THE ADVENTURERS.
Weekes (A. B.). PRISONERS OF WAR.
Wells (H. G.). THE STOLEN BACILLUS.
White (Percy). A PASSIONATE PILGRIM.
TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and
variations in spelling.
2. Retained archaic, non-standard, and uncertain spellings
as printed.
3. Re-indexed footnotes using numbers.
4. The music files are the music transcriber’s interpretation
of the printed notation and are placed in the public
domain.
*** END OF THE PROJECT GUTENBERG EBOOK A YEAR IN
RUSSIA ***

Updated editions will replace the previous one—the old editions


will be renamed.

Creating the works from print editions not protected by U.S.


copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.

START: FULL LICENSE


THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the


free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.

Section 1. General Terms of Use and


Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only


be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

You might also like