Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | B. M. Croker | The first chapter is has an epigraph from Pope
(A youth of frolic, an old age of cards) and Croker goes on to head her chapters with great literary names like Milton
and... |
Intertextuality and Influence | Frances Jacson | The title-page quotes from Milton
's Samson Agonistes. An address To the Dethroned Sovereign Truth hopes for the restoration of this power which, says the author, is still present although obsolete and obscure. Her... |
Intertextuality and Influence | Mrs E. M. Foster | As an epistolary novel, Concealment lacks the characteristic metanarrative of other MEMF
novels, though an interesting prologue addressed to the reader from the Authoress cautions against the practice of concealment. Foster also identifies herself, in... |
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 | Anne Grant | Charlotte Lennox
is alluded to in this book (though AG
gives her birth name wrongly as Massey), Grant, Anne. Memoirs of an American Lady. Longman, Hurst, Rees and Orme, 1808, 2 vols. 1: 21n |
Intertextuality and Influence | Margaret Croker | |
Intertextuality and Influence | Anna Seward | AS
was writing religious verse at ten or twelve years old. Ashmun, Margaret. The Singing Swan. Yale University Press; H. Milford, Oxford University Press, 1931. 8 |
Intertextuality and Influence | Anne Grant | As well as her central allusion to Barbauld, AG
claims authority for her work by quoting Milton
on her title-page and later as well, and by echoing, in her deliberately derivative, that is traditional style... |
Intertextuality and Influence | Ann Hatton | This novel is well supplied with quotations: Macpherson
's Ossian
on the title-page and Robert Blair
(The Grave) to open the first volume, with Shakespeare
and Milton
for the succeeding volumes. It opens... |
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 | Anna Seward | In metre and general tone it remembers Milton
's L'Allegro. |
Intertextuality and Influence | Phyllis Bottome | The book describes the effects of bombing: effects on the cities of London and Liverpool, the Army
, Navy
, and Air Force
, the Women's Auxiliary Services
, and the lives of ordinary... |
Intertextuality and Influence | Elizabeth Freke | Most striking of all is A Diologue between the Serpentt and Eve, which may have been written on the model of the speeches in Milton
's Paradise Lost, but does not refer to... |
Intertextuality and Influence | Ann Radcliffe | Influences on AR
's writings include the opera, contemporary travel writers, and Joseph Priestley
's Course of Lectures on Oratory and Criticism, 1777. Norton, Rictor. Mistress of Udolpho: The Life of Ann Radcliffe. Leicester University Press, 1999. 67 |
Intertextuality and Influence | Catharine Macaulay |
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