Astell, Mary. The First English Feminist. Editor Hill, Bridget, St Martin’s Press.
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Connections Sort ascending | Author name | Excerpt |
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Theme or Topic Treated in Text | Elizabeth Pipe Wolferstan | Here she expounds her method of teaching her grandchildren [or step-grandchildren] through play, and features acute critical comment on female writers for children. In particular, she makes detailed, intelligent criticism of Maria Edgeworth
's children's... |
Textual Production | Mary Astell | In the extended title MA
calls herself moderate, dutiful, and loyal, ironically insisting that she is not Mr. L—y, or any other Furious Jacobite whether Clergyman or Layman. Astell, Mary. The First English Feminist. Editor Hill, Bridget, St Martin’s Press. 205 |
Textual Production | Claire Luckham | CL
's musical adaptation of Defoe
's novel Moll Flanders was staged in 1986. More recently she has performed a valuable service by providing the catalyst for the delivery to radio audiences of much women's... |
Textual Production | George Eliot | Many early extant letters of GE
's date from her unhappy, adolescent, Evangelical period, and have a tone of self-righteousness and censoriousness of others and of herself which is not pleasant to modern readers. In... |
Textual Production | Nadine Gordimer | NG
issued a collected volume of short stories, Friday's Footprint, whose title emblematises, through allusion to Defoe
's Robinson Crusoe, a key moment in colonial contact between different races. In fact, the footprint... |
Textual Production | Emma Tennant | Like a Daniel Defoe
or Samuel Richardson
, she professes to be only the editor of her protagonist's own text. |
Textual Production | Eliza Haywood | A Spy upon the Conjuror (19 March 1724; three more issues followed) is the first of EH
's several pamphlets on the deaf-mute fortune-teller Duncan Campbell
. It was advertised more than a year before... |
Textual Production | Willa Cather | The following year she contributed an introduction to an edition of Roxana by Daniel Defoe
(issued under its subtitle of The Fortunate Mistress). Urgo, Joseph R., and Willa Cather. “Introduction. Willa Cather: A Brief Chronology. A Note on the Text”. My Ántonia, edited by Joseph R. Urgo and Joseph R. Urgo, Broadview Press, pp. 9-39. 36 |
Textual Production | Elizabeth Jenkins | EJ
's next novels were Doubtful Joy, 1935, The Phoenix Nest, 1936, Robert and Helen, 1944, and Young Enthusiasts, 1947 (titled from Samuel Johnson
's description of the ambitious young scholar... |
Textual Features | Delarivier Manley | Queen Zarah purports to be translated, not from French but from Italian. In it England is Albigion. The critical preface is in fact a translation of part of Morvan de Bellegarde
's Lettres curieuses... |
Textual Features | Olaudah Equiano | The book moves into vivid narrative with OE
's abduction, his mostly tolerable experiences as a slave in Africa (constantly moving on until he reached a tribe who were morally corrupted by whites), and his... |
Textual Features | Ann Fisher | The Young Scholar's Delight, or Familiar Companion, in dialogue form, treats geography, astronomy, and other sciences and arts, as well as (in the tradition of Defoe
's Family Instructor) religion and Bible study... |
Textual Features | Marie-Catherine de Villedieu | This book launched the genre of the false memoir (the form of, for instance, Defoe
's best-known novels, though the characters in French examples are generally high-born). It features the first female picaro in French... |
Reception | Eliza Haywood | Love in Excess, with its arguably six editions by 1725, has repeatedly been likened to Daniel DefoeRobinson Crusoe and Jonathan SwiftGulliver's Travels as bestselling English fictions before Pamela. It has never shared their status, partly... |
Reception | Eliza Haywood | For publishing it EH
was arrested, and 800 copies of her work were impounded. It is not known how long she remained in custody, but this incident seems to have headed her off from specifically... |