| Intertextuality and Influence |
Emily Eden |
EE
's preface explains that she first set this novel in what was then the present day: the pre-Reform-Bill, pre-railway era. She did not wish to update it in revising, so it is now set...
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| Intertextuality and Influence |
Elizabeth Strutt |
Influence of Frances Burney
's Evelina is perceptible here, and influence of Jane Austen
seems at least a possibility: a family estate is named Maple Grove, as in Emma, and the heroine's marriage to...
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| Intertextuality and Influence |
Dorothy Whipple |
Unfortunately as published it contains almost no dates. In the early pages DW
writes a deliberately commonplace style, but often records glimpses of people or overheard conversations for possible use in fiction. She relates the...
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| Intertextuality and Influence |
Elizabeth Ham |
The story opens with the young Englishwoman Rhoda Ford (the unbeautiful one of two sisters) and her family in the west of Ireland, where her father has an entrepreneurial scheme. They try to come...
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| Intertextuality and Influence |
E. B. C. Jones |
The book positions itself in relation to cultural, social and emotional markers that are not those of a majority in later times. Helen and Felicia read Northanger Abbey aloud, and Helen admits it to be...
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| Intertextuality and Influence |
E. M. Delafield |
The novel presents a conflict of values between an optimist, a benign canon whose five children have trouble living under his Victorian principles, and a cynic, a World War One veteran who has published an...
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| Intertextuality and Influence |
Dodie Smith |
The book is narrated in the first person by seventeen-year-old Cassandra, a budding writer. As she explains, I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how...
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| Intertextuality and Influence |
Stella Gibbons |
The plot opens when the young, urban, highly civilised, bossy London heroine, Flora Poste, decides (when her parents die leaving her an unexpectedly small income) to live off her exaggeratedly rustic Sussex relations. (Flora admires...
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| Intertextuality and Influence |
Samuel Richardson |
Innumerable women novelists later conducted a dialogue (some admiring, some rebutting or revising) with SR
. Few could ignore his influence completely. Frances Brooke
wrote his biography; Anna Letitia Barbauld
edited his letters, and Jane Austen
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| Intertextuality and Influence |
Elizabeth Jane Howard |
Before beginning this novel she asked the advice of her stepson Martin Amis
to help her choose between this and a present-day version of Austen
's Sense and Sensibility. He opted unhesitatingly for the...
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| Intertextuality and Influence |
Anne Mozley |
These attractive essays in belles lettres employ a relaxed, personal speaking voice (which does not, however, reveal its gender), which puts forward literary opinions with casual confidence. Many essays (like Samuel Johnson
's before them)...
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| Intertextuality and Influence |
Charlotte Smith |
The young Jane Austen
paid Emmeline the compliment of allusion in her comical History of England, 1791. Anna Seward
, on the other hand, condemned CS
for indelicacy because she had exposed her husband's...
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| Intertextuality and Influence |
P. D. James |
PDJ
followed the English tradition of detective-story writing that has continued from the 1920s and 1930s, a genre in which many women have held dominant positions. She spoke of her adolescent reading as influenced in...
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| Intertextuality and Influence |
Mary Augusta Ward |
The heroine is described as deriving from a long line of English gentry, Whig supporters of the Empire: a tedious race perhaps and pig-headed, tyrannical too here and there, but on the whole honourable English...
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| Intertextuality and Influence |
Stella Gibbons |
The novel is richly intertextual. Jane Austen
is a source of inspiration: Flora's sole occupational goal for the next thirty years is to collect material for a novel as good as Persuasion, but with...
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