Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Eleanor Sleath | At this point Gertrude hears a noise in her late husband's room; Ethelind sees a mysterious armed personage resembling him; Winifred sees a tall, white figure; Ormond offers to lie in wait for the ghost... |
Intertextuality and Influence | Sarah Green | The plot owes something to Charlotte Lennox
's Female Quixote. The father of Green's heroine has lived through many crazes for novelists: first Burney
, then Radcliffe
, then Owenson
, then Rosa Matilda |
Intertextuality and Influence | Jane West | JW
's preface invokes Shakespeare
, Virgil
, Homer
, and Sir Walter Scott
(she later adds Thomas Percy
) as more acceptable exemplars for romance than either the French romances (implicitly those of Madeleine de Scudéry |
Intertextuality and Influence | Naomi Jacob | The book is headed by a quotation from As You Like ItWilliam Shakespeare
: Cupid hath clapped him on the shoulder. qtd. in Jacob, Naomi. The Man who Found Himself. Robert Hale, 1973. prelims |
Intertextuality and Influence | Dorothy L. Sayers | The academic background gives DLS
an excuse for lavish literary quotation: from Greek, from Shakespeare
and other canonical writers, many of them Elizabethan, and from moderns like Humbert Wolfe
. Her Oxford
is the preserve... |
Intertextuality and Influence | Eliza Kirkham Mathews | The novel which emerged from so much interference during composition is naive, exaggerated, and badly structured, but highly unusual, with great intensity in its writing. Its title-page quotes Thomas Holcroft
, and its epigraphs to... |
Intertextuality and Influence | Hélène Cixous | The book does not reach complete closure in a traditional sense, but the narrator does sense that her father has come back to her consciousness for the last time. She finds solace in her voice:... |
Intertextuality and Influence | Grace Aguilar | GA
defends her central subject (which eclipses the requisite romances in the plot) in these terms: if Shakspeare
scorned not to picture the sweet influence of female friendship shall women pass it by as a... |
Intertextuality and Influence | Frances Power Cobbe | The theoretical essay with which FPC
headed Josephine Butler
's landmark collection Woman's Work and Woman's Culture, 1869, launches out with wit: Of all the theories current concerning women, none is more curious than... |
Intertextuality and Influence | Maureen Duffy | While the present-day plot produces a series of surreal confrontations, it is punctuated by a string of glimpses into the past. These begin when Swanscombe Man (the prehistoric human whose bones are the earliest evidence... |
Intertextuality and Influence | Elizabeth Heyrick | Both the title-page and the body of the work quote (unascribed) lines about social injustice spoken by Shakespeare
's King Lear (who has only just realised the rampant injustice of the world and of his... |
Intertextuality and Influence | Zadie Smith | The book's epigraph from Shakespeare
's The Tempest (What's past is prologue) qtd. in Smith, Zadie. White Teeth. Penguin, 2001. prelims Smith, Zadie. White Teeth. Penguin, 2001. 83 |
Intertextuality and Influence | Sarah Murray | Frances Milton never blames her father for his unkindness; she still owes him total gratitude and devotion, which she seems to regard as on a par with our debt of love and gratitude to God... |
Intertextuality and Influence | Catherine Fanshawe | CF
assumes an attitude of outraged dignity: can his antiquarian eyes / My Anglo-Saxon C despise? Fanshawe, Catherine. Memorials of Miss Catherine Maria Fanshawe. Editor Harness, William, Privately printed by Vacher and Sons, 1865. 1 |
Intertextuality and Influence | Anna Maria Porter | The new Juvenilia Press
edition, like the original first volume, contains five stories: Sir Alfred; or, The Baleful Tower, The Daughters of Glandour, The Noble Courtezan, The Children of Fauconbridge, and... |
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