Holford, Margaret. Selima; or, The Village Tale. Hookham; P. Broster.
2: 73
Connections Sort descending | Author name | Excerpt |
---|---|---|
Intertextuality and Influence | Maria Edgeworth | Ormond, a young man seeking a role-model, turns at first to Fielding
's Tom Jones, but later and more laudably to Richardson
's Sir Charles Grandison. |
Intertextuality and Influence | Margaret Holford | Selima is a writing heroine: her poems are interspersed in the text, since as she says, As I grow sick or unhappy, I grow poetical. Holford, Margaret. Selima; or, The Village Tale. Hookham; P. Broster. 2: 73 |
Intertextuality and Influence | Rachel Hunter | As its title implies, this novel sets out to flout fictional convention in its bourgeois attitudes and ineligible characters. For both preface and narrative RH
adopts the persona of the ugly Old Bachelor, Gilbert Grubthorpe... |
Intertextuality and Influence | Mary Julia Young | The story opens with Frederic Duvalvin rushing to the aid of an aged peasant and his mule (though he ruins his clothes in doing so), while his cousin Lorenzo di Rozezzi refuses to help. (These... |
Intertextuality and Influence | Catherine Hutton | Jane Oakwood says (presumably standing in for her author, as she often does) that in youth she was accused of imitating Juliet, Lady Catesby (Frances Brooke
's translation from Marie-Jeanne Riccoboni
). Hutton, Catherine. Oakwood Hall. Longman, Hurst, Rees, Orme, and Brown. 3: 95 |
Intertextuality and Influence | Sarah Green | |
Intertextuality and Influence | Susanna Haswell Rowson | As the title implies, the primary speaker and instructor is the father of the family, whose name, Mr Allworthy, comes from Henry Fielding
. The mother plays supporter to him. Both encourage the children to... |
Intertextuality and Influence | Sara Maitland | She points out that for all Brunton's highly moralistic intentions, Maitland, Sara, and Mary Brunton. “Introduction”. Self-Control, Pandora, p. ix - xi. ix |
Intertextuality and Influence | Sheila Kaye-Smith | She was helped and encouraged in this work by her friend the novelist Walter Lionel George
. Stern, G. B. . And did he stop and speak to you?. Henry Regnery. 79 |
Intertextuality and Influence | Mrs Martin | Each volume has an introductory chapter, addressing the reader in the manner of, and with some images borrowed from, Henry Fielding
or Laurence Sterne
(the latter, indeed, is mentioned by name). MM
hopes her reader... |
Intertextuality and Influence | Susan Smythies | |
Intertextuality and Influence | Ann Masterman Skinn | AMS
borrows from Richardson
a masquerade scene and her basic epistolary form, and radically revises a borrowing from him when her heroine stabs a would-be rapist with scissors. But her general tone and her enjoyment... |
Intertextuality and Influence | Eliza Haywood | This satiric, self-reflexive entertainment makes minimal changes to its source, Henry Fielding
's The Tragedy of Tragedies (itself adapted from his Tom Thumb, 1730). There has been controversy over the Opera's music, which... |
Intertextuality and Influence | Djuna Barnes | Henry Fielding
Barnes dubbed her heroine, Evangeline Musset, a female Tom Jones. Lanser, Susan Sniader, and Djuna Barnes. “Introduction”. Ladies Almanack, New York University Press, p. xv - li. xxix |
Intertextuality and Influence | Mary Latter | The first letter, the earliest piece in the volume, was said to have been written seventeen years ago at the age of seventeen: to Myra, which suggests that ML
may have been one among... |
No bibliographical results available.