Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Sarah Kane | The language, entirely spare and unadorned, links the play on the one hand to contemporary television reports and on the other to the ancient mode of tragedy. Ian with his eyes put out unaffectedly recalls... |
Intertextuality and Influence | Ethel Mannin | Ragged Banners also addresses questions of genre. The text includes an index which lists on the one hand names of notable literary figures (including Ethel M. Dell
, T. S. Eliot
, and Shakespeare
... |
Intertextuality and Influence | Frances Isabella Duberly | The title-page quotes James Beattie
and Shakespeare
. For dedication, five stanzas from Longfellow
addressed to absent friends invoke again members of the Eighth Hussars
. FID
's preface declares her intention of reporting the... |
Intertextuality and Influence | Flora Thompson | From her account it is clear how she respects, even loves, the people she describes, but also how she is not one of them, but is marked off by tiny gradations of knowledge and privilege... |
Intertextuality and Influence | Mrs Showes | The story begins where many novels end: with the happiness of the eponymous heroine as she reaches the age of eighteen as a virtuous, well-educated heiress, married by her own choice to Count Harton. Her... |
Intertextuality and Influence | Ivy Compton-Burnett | This was a new influence added to those of the Victorian novelists (especially the women), Shakespeare
, and Jane Austen
, whom she admired extravagantly (Even her dull scraps are music to me)... |
Intertextuality and Influence | Sarah Stickney Ellis | In her preface to the poem she outlines theories of poetry, taking much the same approach towards it that she had towards fiction: that verse, like prose, would benefit from attention to simple, everyday life... |
Intertextuality and Influence | Mrs F. C. Patrick | MFCP
's title-page quotes Aulus Gellius
. Her preface claims that she is merely editing an authentic manuscript, and that the preface is her only original contribution to the book. She also claims to have... |
Intertextuality and Influence | B. M. Croker | |
Intertextuality and Influence | Roxburghe Lothian | RL
sets out to portray Dante and Beatrice's relationship in the context of the social and political conditions that surrounded them, while simultaneously arguing that the Divina Commedia emerged from this real love, this... |
Intertextuality and Influence | Henrietta Rouviere Mosse | The title-page quotes Shakespeare
, who is then cited in the preface to justify the genre of historical fiction. HRM
mentions her consultations of records and documents, and expresses her thanks to the gentlemen of... |
Intertextuality and Influence | Michelene Wandor | It proclaims: this is the story of two people // this is the story of two peoples // and one God / your God or mine? Wandor, Michelene. The Music of the Prophets. Arc Publications, 2006. 34 |
Intertextuality and Influence | Mary Stewart | The novel is set in southern France: the action begins in Avignon and concludes in Marseilles. Epigraphs to chapters range through the traditional English literary canon—Chaucer
, Spenser
, Shakespeare
, Robert Browning |
Intertextuality and Influence | Emma Robinson | ER
claims to be merely the editor here of an original source. As she tells it in the preface, while doing research for Owen Tudor she happened on some curious particulars that explained everything she... |
Intertextuality and Influence | Mary Delany | Janice Thaddeus
discusses the prerogative MD
assumed in giving names of her own invention to people and places. Her uncle Lansdowne was Alcander (a violent man mentioned in Plutarch
's Lives, who was forgiven... |
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